Instructor's Resource Manual Seventh edition

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BANJO is pictured in the Origins of Jazz chapter. DRUM SET is .... Johnny Griffin, Kenny Burrell, Grover Washington, McCoy Tyner, Jackie McLean, ..... Eleven.” Or use the Jazz Classics CD2 for Jazz Styles for Buddy DeFranco's solo on “No.
Instructor's Resource Manual

Seventh edition CONCISE GUIDE TO JAZZ

MARK C. GRIDLEY

Discography Edited by William E. Anderson

Pearson Upper Saddle River, New Jersey 07458 Copyright 2013 Mark C. Gridley

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TABLE OF CONTENTS Page ABOUT THE AUTHOR ....................................................................................................... iv PREFACE .................................................................................................................................v IF YOU ARE TEACHING THIS COURSE FOR THE FIRST TIME………………1 CONCEPTUALIZING YOUR COURSE……………………………………………...2 WHAT TO DO IN YOUR FIRST CLASS MEETING..................................................6 PREVENTING CONFRONTATIONS ABOUT GRADES…………………………...7 SAMPLE LEARNING GOALS………………………………………………………...9 SAMPLE COURSE REQUIREMENTS……………………………………………...13 DIFFERENT WAYS TO USE THE TEXTBOOK…………………………………..15 CAN YOU TEACH WITHOUT ACCOUNTING FOR PERCEPTUAL SKILLS?.17 CONVEYING THE EXTENT OF SPONTANEITY IN JAZZ……………………...20 EASY WAYS TO HELP STUDENTS HEAR THE CHORDS CHANGE…………22 PITFALLS TO AVOID………………………………………………………………..24 CONSIDERATIONS REGARDING NONMUSICIANS IN GENERAL EDUCATION COURSES……………………………………………………………..28 VIDEO RESOURCES FOR TEACHING JAZZ APPRECIATION……………….32 CAUTIONS REGARDING CLASSROOM USE OF VIDEOS…………………….34 CONSTRUCTING LISTENING QUIZZES FROM THE CDS……………………39 USES FOR THE DEMONSTRATION CD …………………………………………...43 HOW TO USE THE JAZZ CLASSICS CDs AND LISTENING GUIDES………….45 INTRODUCTION TO SAMPLE SYLLABI: RATIONALE AND DESIGN TIPS..46 15-WEEK "STRAIGHT HISTORY" COURSE - MON-WED-FRI SCHEDULE...53 15-WEEK "STRAIGHT HISTORY" COURSE - TUES-THURS SCHEDULE…..58 15-WEEK "INTRO TO JAZZ" COURSE - MON-WED-FRI SCHEDULE………63 15-WEEK "INTRO TO JAZZ" COURSE - TUES-THURS SCHEDULE………...69 10-WEEK "STRAIGHT HISTORY" COURSE - MON-WED-FRI SCHEDULE...74 10-WEEK "STRAIGHT HISTORY" COURSE - TUES-THURS SCHEDULE…..78 10-WEEK "INTRO TO JAZZ" COURSE - MON-WED-FRI SCHEDULE………81 10-WEEK "INTRO TO JAZZ" COURSE - TUES-THURS SCHEDULE………...85 DEMONSTRATION CD: COMPLETE CONTENTS………………………………..88 JAZZ CLASSICS CDs for JAZZ STYLES: COMPLETE CONTENTS……………..93 CLASSICS CDs FOR CONCISE GUIDE, EDITION 6: COMPLETE CONTENTS.100 2

TEACHING THE ORIGINS OF JAZZ: ISSUES, BIBLIOGRAPHY AND DISCOGRAPHY..................................................................................................................103 DISCOGRAPHY (alphabetized by artist - anthologies at the end) .....................................118

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ABOUT THE AUTHOR Mark C. Gridley is an active professional jazz musician with a life-long involvement in educating the public about jazz. He created and produced "Jazz, That Lively Art" for WOAK-FM radio in Detroit from 1962 to 1965. From 1971 to 1981, he taught "History and Styles of Jazz" for non-musicians at Case Western Reserve University in Cleveland, where he earned M.S. and Ph.D. degrees. During 1976 he led the jazz demonstration unit for the Cleveland chapter of Young Audiences. By the time he earned a B.S. degree at Michigan State University, Gridley had won honors playing flute, oboe and saxophone, and he had led numerous bands in Michigan. The Mark Gridley Quartet from Michigan State University was finalist at the 1968 Notre Dame Collegiate Jazz Festival in which Gridley won the "Best Flutist" award, and his combo tied for first place with the Randy Sandke-Michael Brecker combo from Indiana University. Gridley has performed and toured with several name bands (Harry "Sweets" Edison, Les Elgart) and accompanied numerous popular singers (Lou Rawls, Sammy Davis, Tony Bennett, Yolande Bavan, Vic Damone, Marlena Shaw, Steve Lawrence, The Fifth Dimension, The Jacksons, The Temptations, etc.). He has performed with the Chautauqua Symphony Orchestra in New York, and he continues to maintain the steady schedule of performances with his own jazz groups that he began in the Cleveland area in 1969. Gridley's critically acclaimed text, Jazz Styles: History and Analysis, has been translated into Bulgarian, Japanese, Danish, Korean, and Polish, and it has earned its author a listing in Who's Who in the Midwest, as well as commissions that led to extensive contributions in the Encyclopaedia Britannica, The New Grove Dictionary of American Music and The New Grove Dictionary of Jazz. Gridley has done field research in all the jazz centers of the U.S. as well as Africa, South America and the Caribbean. Several scientific journals have published his research on perception and preferences in music and art. He frequently addresses scholarly conferences as well as lecturing at colleges and universities throughout the U.S. Beginning with its 1985 edition, Jazz Styles became America's most widely-used introduction to jazz. As of its fourth edition, Gridley’s Concise Guide to Jazz became America’s second-most widely used introduction to jazz, in a field of more than fifty other titles. Gridley's articles about jazz have appeared in The Musical Quarterly, College Music Symposium, Current Musicology, The Instrumentalist, The Black Perspective in Music, Popular Music and Society, Jazz Educator's Journal, and Black Music Research Journal. In 1987, The Educational Press Association of America gave Gridley its Distinguished Achievement Award, and in 2003 he was first listed in Who’s Who in America.

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PREFACE This manual should ease your job and help your students get the most out of their brief time with you. The contents reflect experiences of numerous other instructors and their students who shared observations with me. Much of the material represents teaching techniques and materials that I devised while teaching jazz history to non-musicians during 23 semesters at Case Western Reserve University. This manual is keyed to the 7th edition of Concise Guide to Jazz (ISBN 0-20593700-4), the Jazz Classics CDs for the 7th edition of Concise Guide to Jazz (ISBN 0205-93738-7), the Jazz Classics 3CD set for the 11th edition of Jazz Styles: History and Analysis (ISBN 978-0-205-03686-8), the Demonstration CD for Concise Guide to Jazz (ISBN 978-0-13-601098-2), and the Prentice Hall Jazz Collection, 2nd Edition CD (ISBN 978-0-205-17896-4). If you are missing any of those items, contact your Pearson sales representative, phone 800-526-0485, write College Humanities Marketing, Prentice-Hall, Inc., 1 Lake St., Upper Saddle River, NJ 07458, or email: [email protected]. A Test Bank of 300 multiple-choice exam questions is available for download to teachers who contact Pearson sales representatives, [email protected] or [email protected]. The chapter titled "If You Are Teaching This Course for the First Time" originally appeared in altered form as "Teaching Jazz History for the First Time" in The Jazz Educators Journal, Volume XIX, No. 4, the official publication of the International Association of Jazz Educators. This article is reprinted by permission of the editors. “Considerations Regarding Non-musicians in General Education Courses” is an edited form of a presentation made at the IAJE convention in Chicago, January, 1997. The outline of the presentation first appeared in Instructors’ Resource Manual for Concise Guide to Jazz, Edition 2 (Prentice-Hall, 1998). An edited form of it appeared in Jazz Educators Journal, Volume XXXIII, No. 2, pages 54-55 as “Teaching Jazz History/Appreciation to the Non-musician.” Other portions of the material in this manual were presented to the National Association of Jazz Educators conventions held in Columbus, Ohio on January 15, 1984 and Boston, Massachusetts on January 14, 1994.

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IF YOU ARE TEACHING THIS COURSE FOR THE FIRST TIME

You might be apprehensive when you are first assigned to teach an entire semester of an academic course, especially if your training is in band leading or choir leading, not in musicology. The job looms even larger if the course is in jazz history and you do not already have a longstanding interest in the area and a large personal collection of jazz albums. But it is not difficult to get past your apprehensions as soon as you begin realizing that such an undertaking is going to be fun. You will enjoy it because of the immense freedom you have in choosing material and the great opportunity you will have to hear so much new jazz with your students in the classroom. So, the first idea to keep in mind is that, more than anything else, music appreciation classes are taught because listening to music is fun, and people like yourself already understand so much about music that you are in a position to help others derive more enjoyment from music. It is always a kick to watch others enjoy jazz for the first time. The course becomes all the more rewarding when you realize that, first, you will be coaching listening skills that your students will carry with them the rest of their lives and, second, that you will be introducing students to styles that many will like enough to go and share with their friends. I have never met anyone who teaches this course who said he/she did not enjoy it. In fact, one professor remarked to me that he had resisted taking the position of teaching it because he thought he would not like teaching nonmusicians, yet now he finds he likes it more than conducting (and this is a conductor with a good reputation and a string of successful bands and albums under his directorship). In other words, if you keep reminding yourself that the basic purpose is musical pleasure for you and your students, not only will you succeed in making the course fun for yourself and your students, but you will also have created a good course and enhanced your reputation as a stimulating teacher. You probably dread the prospect of trying to create a new course and still get through an entire semester without sacrificing your other responsibilities, health and sanity. But you really can teach a respectable course in jazz appreciation, as long as you keep in mind that you do not have to cover everything. Basically you are your own boss, free to allocate whatever you are best able to handle. (At almost no college is this course a prerequisite for any other course.) If you ignore that consideration, you will be testing the limits of your health and sanity, and, most importantly, you will run the real risk of alienating the same students you were hired to stimulate. Two other basic considerations are worth pondering. One is that probably you will be hired to teach the course again somewhere, someday. Therefore, all those things that dawn on you during the semester, that you wish you'd have realized sooner, are not wasted ideas after all. You can use them the next time. (All good teachers are continuously refining, as they see what they could have done differently.) In other words, 6

try to not get caught despairing what you cannot do or what you didn't do. Try to savor what you can do and are doing.

Conceptualizing Your Course Instead of following the set curriculum offered by any given book or any predecessor's course syllabus, you might wish to decide what you personally believe to be the absolutely essential skills and information for students to acquire if they have only a one-semester experience with you. For instance, you might keep in mind that just because the course title has the word "history" in it does not necessarily mean that you have to emphasize what happened and when. You could treat styles chronologically or not. In fact, you don't have to treat the history or origins of jazz at all if you don't think that such information is essential for appreciating jazz. You could design a course around your own set of priorities and then cut and paste the appropriate textbook passages, CD selections, and live performances to fulfill your goals. You could even change the course title to "jazz appreciation" or "understanding jazz." Students Don't Share Your Background. In conceptualizing your approach, (a) try to remember what it was like before you knew anything about jazz. Since many of your students in a jazz appreciation course have no technical knowledge of music, it is also helpful to (b) try to remember what it was like before you learned how to read music and play an instrument. Keep in mind that many of your students did not grow up in musical families, and you knew more about the inner workings of music as a kid than they might ever know. Remember that you are an insider. In this course you will be giving outsiders a peek into your world. So be patient. The most effective teachers try to put themselves in their students' shoes. In other words, if your course is offered to the campus at large and not restricted just to musicians, you dare not assume any prior knowledge on the part of your students. You dare not assume familiarity with even the biggest names in jazz. What to Spend the Most Time On. Here are a few observations to consider if you are teaching the course for the first time. Some instructors concentrate on listening skills and use class time to analyze classic recordings by way of the listening guides in the textbook. Many instructors begin the course with the Elements of Music appendix for a few weeks. Though some instructors stick to the historic recordings that come with the book, other instructors additionally sample recordings that are recommended in the book's chapter-end lists. Some play and analyze additional recordings that come from their own personal collections, as well as from the Smithsonian and Ken Burns CD collections. Some instructors emphasize the place of jazz in American history and culture.Some instructors revere the jazz giants for their creative genius, spend lots of time discussing the virtues and the influence of just a few of the biggest names. Some emphasize style eras more than the giants who spearheaded those eras. Some do a combination of these approaches.

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Trivia Alert. It is almost meaningless to merely tell your students about a musician or his life if you never expose them to his music. Many instructors feel compelled to tell students about a number of such musicians in order to fulfill the instructor's own sense of completeness. But these instructors might fail to recognize that if they don’t play an example of the musician’s music, they risk overwhelming students with information that constitutes trivia in the student’s mind. Remember that the course is a music course, not a course in sociology, American history, or the drama of private lives. Students report, for instance, that lectures about the birthplaces of musicians are not helpful in appreciating the musicians’ styles. I have heard complaints from students about instructors who filled class time with road stories rather than musical insights. Though amusing, the stories were not meaningful to the students who were not already familiar with the music of the subjects in the stories, and they provided little for the students to carry away from the course. The fact that their instructor knows a host of anecdotes may be a liability to the student who is grappling with a brand new field of inquiry. Keep in mind that students are trying to stay afloat for an entire semester with requirements for four other courses and a life outside of the classroom. Though they might not say it aloud during the storytelling, many will be asking “Will this be on the exam?” Live Performances. Students tend to get more out of live performances than they get from recordings, even if the quality or historical significance of the live performance is far below that of the recordings. If concert reviews are required for a course grade, students will find it helpful if your syllabus lists the semester's events. Note that carpooling is a terrific way to insure that students get to the concerts. It also gets them thinking about the music before and after the event because they talk to each other during the trip. Many instructors include in their course syllabi the names, addresses, phone numbers, maps, and prices for nightclubs that feature jazz in their region. Large cities tend to have "jazz lines," 24-hour phone numbers that announce the week's activities for anyone who calls. Some instructors prominently display that number in their syllabi. Whenever a nationally known musician (or a world-class local musician) is going to perform in your vicinity, students appreciate an album by that musician being placed on reserve for them to hear at the library. Or you could provide download information for essential selections for your students. They also appreciate hearing the music in class, even if you have to cut some of your standard course material to make time for it. (You can put on reserve whatever course notes and recordings you cut. Then students won't miss getting them.) Some of the most enterprising instructors arrange for the musicians themselves to visit class during the week of the concert. (Big names might surprise you with their willingness to facilitate jazz appreciation!) If the campus itself is sponsoring the concert, a door is already open for soliciting a class visit by the performers. This serves a double function: it increases attendance at the concert (making it more likely that your students will actually go and hear the music), and it gives students insight into the people behind the music. Don’t be afraid to phone the musicians via their agents or their presenter. Or determine their hotel, and phone them directly. Some instructors perform for their students, talk about how they go about piecing together their improvisations, and they frequently bring in guest artists to play and talk 8

with their students. Note: Always get your visiting musicians to talk about what they are doing in the music. Otherwise, the experience differs little from standard concertgoing, in which students don't learn about the inner workings of the music. Student Projects. Some instructors recognize that many students learn more effectively on their own than they learn in class meetings. So these instructors assign independent projects and allocate a substantial portion of the course grade to them. Topics for the presentations can be selected by your students. Such projects may be as rudimentary as a book report on a biography that is listed in their textbook's chapter-end "Read" sections. The report may be presented orally to class. Caution is in order, however, for teachers who assign biographies Unfortunately, students might come to buy the myth that they know more about a player's music merely because they have learned about the player's personal life. Students are easily distracted by musicians' nonprofessional personal habits and the ironies and tragedies in their life experiences. Critical thinking might be encouraged in your students if you require them to distinguish such items from other biographical information that has clear implications regarding how the biographees were making the music and making it distinctive. (Though some of us seem to be fascinated by how individuals overcame personal hardships, the most creative figures in the arts seem to make their work despite the ironies and tragedies in their private lives, not because of them. Therefore, a focus on personal tragedies is distracting.) One strategy for overcoming such tendencies in readers might be to require students to report on concrete musical information that they gleaned from the biography. You might ask them to identify how the musician came upon a particular technique or how he came across the music of another player who ultimately became an influential model for him. For example, sometimes biographies contain anecdotes about how one musician showed another musician a crucial chord or rhythm or provided pivotal advice on how to approach improvisation. (Sensationalist movies such as BIRD and 'ROUND MIDNIGHT entirely ignore such things and emphasize instead the irrelevant drama of personal life.) You might require students to report on their own reactions to recordings that the biographies introduced to them. Take caution if you ask students to prepare a report on a famous musician. Students are likely to just cut and paste passages from Wikepedia and fanzine web pages instead of really listening to the musician's work, thinking about their listening experience, and then placing the music in a personal aesthetic perspective. You can decrease that tendency with (a) requirements for personal reflection and (b) warnings regarding plagiarism. Some instructors reproduce their college’s official policy on plagiarism in their course syllabi. A student project may be as substantial as preparing a listening guide for a classic recording. It might be for just one passage in such a recording. (Caution: Be sure that the recording is not already represented by a listening guide in Jazz Styles, Concise Guide to Jazz, or in any other books that students are likely to copy or borrow from.) Nonmusician students could try to determine the song form and then graph the ups and downs of pitch, relative durations of tones and pauses, as well as the changes of sound quality 9

that occur in a given passage. The results could be formally presented to their classmates. Musician students could be required to transcribe an excerpt from an improvisation by some eminent jazz musician who plays the same instrument as the student. One goal for such an assignment could be to highlight the virtues of that improvisation via a class presentation and hum nuggets of memorable melody that emerge from more intricate passages. Justifying Your Allocations: Neglecting Some Historic Giants for the Sake of Being "Current" A semester appears painfully brief when the immensity and richness of jazz history is confronted. It seems even shorter when we realize that many truly deserving musicians cannot be presented at all. Allocation problems become still more knotty when deciding about (a) whether to treat recent styles and, if so, (b) how much time to spend on them. This may be painful when we confront the problem of how to justify touching current figures who did not innovate (such as the neoclassical figures who have attained considerable media attention since the 1980s) and to decide whether we can justify covering any musicians merely because they are currently prominent. This becomes an ethical dilemma because some figures are prominent despite the fact that they are not as good as earlier players whom we have not covered. In other words, can we justify covering them when they are not more original, innovative, or influential than other players whom we have already neglected? Implications: No matter what you decide regarding how much coverage to allocate to each major figure, be cautious about overloading your students. Remember that all the names you mention will be new for most students in college today. This will be particularly true for non-musicians in jazz appreciation courses. For these reasons, keep in mind that (a) Chapter 11 items are not all included in this manual's sample syllabi, though some of them appear within "OPTIONAL" designations for end-of-the-semester assignments. This means that (b) if you emphasize topics in chapter 11 you will probably need to skip earlier chapters (or a few figures in them) so that, on balance, you avoid overwhelming your students. Remember that you can present whatever your conscience allows. Jazz history, jazz appreciation, or introduction to jazz is not a prerequisite at most schools for any other course. Its content is unlikely to appear on any proficiency exams for graduating from college or entering graduate school. Therefore, its content is solely the prerogative of the instructor. This means that you have several alternatives for dealing with recent styles: (1) Don’t cover recent styles at all. Just stick to a “meat and potatoes” diet of (a) the top twenty giants in jazz history, regardless of era (choose from names that are prominent in the following syllabi), or (b) just six main categories (early jazz, swing, bop, cool, free, and fusion). 10

(2) Cover a few recent styles at the expense of some older styles. This means that you could put judiciously selected albums on reserve at your library for the earlier styles you edged out and for any recent styles that are not represented on the Jazz Classics CDs that your students bought with their textbook. (The chapter-end lists of albums suggest highquality possibilities.) You could add a paragraph to your syllabus describing the albums, how to find them, and where to read about the music on them. Additionally, if you require reports, term papers, or class presentations, you could tell your students that these optional styles all qualify for such projects. What to Do at Your First Class Meeting What to say. Wondering what to do for your first meeting with students in your jazz history and appreciation class? If you are apprehensive about what to say to your new students because you have never taught music appreciation, try (1) rehearsing a few opening lines to break the ice. My own favorite line was something to the effect of, "Hello. Welcome to Jazz History class. My name is Mark Gridley, and I'm very excited about having the opportunity to turn you on to jazz and to improve your hearing without surgery." What to play. Then I told my students to close their eyes and just listen as I (2) played about 12 minutes of exciting excerpts from widely varied jazz recordings to illustrate the diversity of jazz styles. It gave students a taste of things to come and an opportunity to contemplate what jazz is, by considering what all the pieces had it common. My montage included an assortment that I'd culled from the most exciting live performances in my own collection, such as a very swinging solo piano blues by Oscar Peterson from a Jazz at the Philharmonic concert, a Newport Jazz Festival recording of Roland Kirk's humming and exploding flute sounds on "One Ton," John Coltrane's impassioned soprano sax solo over Elvin Jones' wonderful bashing and crashing from their Live at Birdland album, a very hot Stephane Grappelly violin solo with Django Reinhardt, Bill Evans' subtly swinging trio sounds from the Village Vanguard sessions, Sidney Bechet bursting with life in his out-chorus on "China Boy," Dizzy Gillespie's opening improvisations over the vamp at the beginning of "Manteca," and Louis Armstrong's scat on "Hotter Than That." Then I (3) asked students to tell me what all the pieces had in common. This may help ease you into (4) introducing the concepts of improvisation and (5) swing feeling. It also can help dispel the notions that (a) music must have the character of a certain era to qualify as jazz and that (b) it can be played only on certain instruments (as refuted by the violin and flute solos in the montage). What to demonstrate. To further demonstrate the concept of improvisation, I asked one student to tell the class what she had done before arriving. After she'd spoken, I asked her to tell the class whether she'd known I would ask her to speak and had therefore rehearsed her answer. When she said, "No," I said, "You used words and phrases that you'd used before, but you put them in a different order. This means that you improvised your answer. That is like what jazz musicians do with their pitches and rhythms." Then I 11

said, "I'm going to ad lib something." I then performed some free-form improvisations and explained what I'd done as soon as I stopped playing. (Note: At this moment, it is too soon for explaining improvisation that is based on chord changes or variations-on-atheme.) To demonstrate swing feeling, I improvised phrases (a) with and without tempo, (b) with and without swing eighth notes, (c) with and without syncopation, all the while systematically defining each term (tempo, syncopation, eighth note, as explained in the Elements of Music appendix in the book) before illustrating its effect (as explained in the "What is Jazz?" chapter of the book). For instance, to demonstrate the concept of swing eighth notes, I played the first phrase of "Lullaby of Birdland," "as Mozart might play it," using straight eighths, then, "as Charlie Parker might play it," with swing eighth notes. As I did this, I was explaining the corresponding change in durations (long-short, long-short) and emphases (weak-strong, weak-strong), as detailed in the Elements of Music appendix of the book). Chalkboard assistance is recommended. (6) I also brought fellow musicians to class with me to jam. (If I had no access to good players on that particular day, I brought Jamey Aebersold's pre-recorded accompaniments for 12-bar blues, and I performed alone for the class with their help.) If I was lucky enough to have a drummer involved, I asked him to identify each piece in his drum kit and the function it served in the performance. (See Steve Gryb's DVD Listening to Jazz for examples.) If I had a pianist or guitarist, I asked him to explain comping before he demonstrated it. If I had a bassist, I asked him to demonstrate walking bass style. Note: How much you perform during that first class period and how much you and your musicians explain depends on how much time you have. (It pays to be organized and it pays to be very concise.) The first class is crucial to getting students enthused about the course. So try to be as energetic and positive as possible, without overwhelming your newbies with too much information. For many of your students, this experience will be the first time they have ever heard jazz. A live performance sets the pace for the course and gives you a terrific reputation on campus. Taking care of business. Before concluding the meeting, I made sure that all the students had a copy of the (7) course syllabus so they knew all the course requirements, and I (8) showed them the book and recordings that they needed to buy in order to fulfill their assignments before the next class meeting. PREVENTING CONFRONTATIONS ABOUT GRADES

A major consideration regards the single greatest damper on your having fun in this course: issues surrounding tests and grading. Students take such things so seriously that they often forget the purpose of the course. They accidentally lead you to dwell on such matters, to the exclusion of your main purposes. Therefore, it is advisable to announce in your syllabus and to frequently reiterate in your first lectures that the purpose of the course is two-fold: "to turn you on to jazz" and "to improve your hearing, 12

without surgery." If you acknowledge all this ahead of time, you can forestall the agonies and hostilities that always arise otherwise. The only strategy that ever worked for me in hostilities about grades was to present a very detailed syllabus. Some of mine ran to 14 pages of single-spaced typing that spelled out every assignment's textbook page numbers, listening selections, hints for focusing on particular aspects in the listening experience, and all the course requirements: a. exam dates, b. exam content, c. exam format, d. where and how exam results will be available, e. whether exam grades are contestable (if so, what is the appeals procedure), f. due dates for term papers and reviews (including dates for outlines and rough drafts; penalties for lateness), g. grading criteria, h. absence policy (what are the consequences of missing class?), i. missed exam policy (scheduling make-up's), j. what constitutes an acceptable album review or concert review (provide models and lists of the critical features). See the sample learning goals and grading criteria at the end of this chapter. But note that it does not constitute a syllabus. It is only the grading scheme for one. A true syllabus includes all lecture topics, assignments listed by textbook page numbers, and recordings, all of which are detailed for every date of the semester. Sample tests and quizzes were provided, along with scoring criteria and final grade computation formulae. Then I said, in class, that I was willing to spend any time necessary during the first week of the semester to discuss any aspect of course grading that anyone wished, for as long as anyone cared to spend. In addition, I tape recorded all the first week's class discussions, made spare copies of all the tapes, and I announced that they were available to anyone who missed hearing the discussions. But I also told them that, after the first week, I would never again spend any time discussing tests or grading, in class or outside of class. The only topic to which I would devote any time was jazz. After laying out something that comprehensive, you should be free to relax and have fun with the music, and so should your students. Students take grades very seriously. Where there is little uncertainty about what is expected (and when it is due), there is little anxiety. And where there is little anxiety, there is even less hostility and confrontation about tests and grading. Here is an excerpt from a model for a grading scheme to include in the syllabus that you give your students on their first day of class. This is not a complete syllabus in and of itself. A real syllabus also includes lecture topics, textbook pages and listening assignments for each class meeting. It also includes due dates for all written assignments, penalties for missing due dates, attendance policy, and it presents the criteria by which each assignment will be graded. Below 13

is also a set of goals that might be included in a syllabus to help your students focus their studying. These are offered here merely as samples to get you going if you have never taught the course before. Before putting your course syllabus together, you must contemplate your own goals by deciding what you really want students to retain from their brief semester with you. (Many of these derive from material that is available only on the Demo CD, not in the textbook.) It’s always a guess as to what will prove to be realistic to expect from your particular group of students. You will probably modify the goals after a few semesters of experience Grading Scheme This course is a perceptual learning experience. There is no way to measure more than a fraction of the new auditory skills you will acquire. Most of the following recognition skills would ordinarily be acquired by anyone who seriously pursues appreciation for jazz by doing the listening, reading and by attending all the lecture-demonstrations in a course such as this. It might also be acquired by self-study with the aid of musician friends. However, grades must be assigned because this is a credit course in college. Therefore, the following guidelines are offered to help you gear some of your learning to quiz formats that will be used in the class. Dates are attached to the listening skills goals so that you need not be caught short when quizzes are administered. A few information goals are also included with some of the listening skills goals. Quizzes will occasionally draw upon the information outlined in those goals. Note: Try not to think only in terms of the material needed for quiz passing. This course is supposed to help you enjoy jazz more. Quizzes and grading represent only a tiny part of the experience. Goals for Learning By January 10, be able to: 1.

offer several different definitions of jazz;

2.

identify jazz when you hear it and say how its sound qualifies it for the "jazz" label.

By January 15, be able to: 1.

distinguish an improvisation based on the 12-bar blues format from one based on a 32-bar A-A-B-A format;

2.

identify when the bridge occurs while you are listening to an improvisation based on a 32-bar A-A-B-A form;

3.

identify a solo break when it occurs in a performance;

4.

identify double-time feeling when it occurs in a ballad performance; 14

By January 21, be able to: 1.

differentiate the sounds and appearances of soprano, alto, tenor sax and clarinet;

2.

notice when a chord changes within an accompaniment for an improvisation.

By January 24, be able to: 1.

differentiate the sound of a trumpet from a trombone from a saxophone;

2.

differentiate the sound of a muted trumpet from an un-muted trumpet.

By January 31, be able to: 1.

distinguish the sound and the appearance of a ride cymbal from that of the high-hat;

2.

distinguish time-keeping drumming from coloristic drumming;

3.

distinguish the sound of the snare drum from that of the tom-tom;

4.

distinguish the sounds made by drum sticks from those made by brushes;

5.

explain comping and ride rhythms, and know when you are hearing them;

By February 14, be able to: 1.

tell what instrument is played by: a. Miles Davis; b. Louis Armstrong; c. Charlie Parker; d. Dizzy Gillespie; e. Duke Ellington;

2.

distinguish tone with vibrato from tone without vibrato;

3.

distinguish tones containing pitch bending ornaments from unornamented tones;

4.

list at least 5 reasons why Louis Armstrong is historically significant;

5.

list arranging concepts that Duke Ellington pioneered;

6.

identify growl-style trumpet playing within a recorded passage; 15

7.

identify growl-style trombone playing within a recorded passage.

By February 19, be able to: 1.

distinguish the sound of Johnny Hodges from that of Charlie Parker;

2.

distinguish pre-bop jazz piano sound from bop piano sound;

3.

distinguish the sound of Louis Armstrong from that of Dizzy Gillespie;

4.

list at least 3 reasons for Charlie Parker's significance.

By February 26, be able to: 1.

differentiate the sound of swing, bop, and free drumming;

2.

distinguish among the sounds of Lester Young, Charlie Parker, Johnny Hodges and John Coltrane;

3.

indicate when John Coltrane is playing tenor saxophone and when he is playing soprano saxophone;

4.

differentiate the sound of John Coltrane from that of Cannonball Adderley on selections from the Milestones album, as on “Two Bass Hit;

5.

discuss the various definitions of free jazz and its associated elements;

6.

tell who Bill Evans is and why he is historically significant.

By the end of the semester, be able to do all the above, plus: 1.

tell two different ways John Coltrane was important as a composer;

2.

tell what Weather Report was and why it was historically significant;

3.

explain how misleading the term “jazz-rock” is;

4.

distinguish the sound of funk bass from non-repetitive-interactive style;

5.

list the ways that jazz-rock/jazz-funk differs from: a. hard bop; b. swing; c. rock;

6.

identify jazz swing feeling when you hear it on a record and distinguish it from jazz-funk feeling; 16

7.

list at least four ways that jazz differs from rock;

8.

identify similarities between African music and jazz-rock;

9.

distinguish improvised parts from written parts.

17

SAMPLE COURSE REQUIREMENTS A.

Attend at least 2 live jazz concerts and/or jazz nightclub engagements. (One can be by a local group, but at least one must be by a national group.) Each attendance must be accompanied by a 2-page, typewritten, thoroughly proofread review that must be handed in at least two weeks before the final class meeting. (Two points of extra credit, equivalent to quiz points, will be granted for every review that is handed in at the first class meeting that occurs after the event.) In addition to whatever you feel is significant to say about your experience, you must also list 1.

the instruments that were played,

2.

the form of at least one piece you heard,

3.

the performers,

4.

the time,

5.

date,

6.

place,

7.

price of the event,

8.

an account of your personal impressions of the music that details what you liked and what you disliked about it and why.

B.

Complete the graphing of recorded solo lines that occasionally will be assigned in class. In order to receive credit, the work must be handed in within one week of its being announced in class.

C.

Complete a two-page, thoroughly proofread, typewritten review of one jazz album (your own or a borrowed one). If you want advice about what to buy, consult the textbook's chapter endnotes. Within your review, be certain to describe the music in terms of the categories and musical techniques outlined in lectures (bass roles, drum roles, era, instruments, etc.) and the form of at least one piece on it (12-bar blues, 32-bar A-A-B-A, etc.). An alternative to buying or borrowing an album is recording an hour-long jazz program from the radio or listening to a concert streamed on the internet and treating it as an album. (Note that you still need to list correct personnel, tune titles and instruments for all selections, just as you would in a standard album review.) In order to receive credit for it, this must be handed in at least one week before the last class meeting.

18

D.

Take at least 8 out of the 9 quizzes that will be administered during the semester on the dates that are listed in the above course goals. Each quiz counts 3 points. No make-up quizzes will be given to anyone without a written excuse from the Dean. All make-ups must be completed before the last class meeting. Your course grade will otherwise be computed by point total from remaining quizzes. Assuming on-time completion of all the activities outlined in A-C above, your course grade will be determined by the semester total from the quiz grades (and extra credit outlined in A): 23-27 points = 4.0 21-22 points = 3.5 20 points = 3.0 19 points = 2.5 18 points = 2.0 17 points = 1.5 16 points = 1.0 less than 16 points total quiz scores and/or missing any work or deadlines from A-C above = 0.0

Keep track of all your assignment completions and quiz grades. Make a log for yourself, and enter each item as soon as it is completed. Then you will never need to ask your instructor about your standing or your course grade.

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DIFFERENT WAYS TO USE THE TEXTBOOK No technical knowledge of music is required to understand the contents of Concise Guide to Jazz, and the text's vocabulary has proven to be comprehensible for high school students as well as college students. Past editions have been used effectively in high schools and community colleges, not just universities. Many instructors have successfully taught their courses from this book without devoting any attention to technical terms. Other instructors have used the "Elements of Music" appendix at the beginning of their course to introduce basic technical concepts before discussing selected jazz styles. With the Demonstration CD and the Jazz Classics CDs, this text can serve as the core of a self-paced course of study in which the reader/listener becomes familiar with the sights and sounds of jazz, separate from the presentations made by the instructor. Technical concepts that otherwise require lecture/demonstrations by professional musicians can be learned by pairing the CD with the accompanying text pages. The contents of the Demonstration CD also can be used as reinforcement of lecture/demonstrations performed by the instructor, because they provide a handy source of review materials for study outside of class. Exceptionally efficient instructors have required that their students learn the contents of the Demonstration CD outside of class. Then, with the resulting savings in class time, they presented additional historic styles. Some professors have used Steve Gryb's video adaptation of the Demonstration CD for the same effect (available as Listening to Jazz, distributed by Pearson as ISBN 0-13601053-9; phone: 800-947-7700; FAX: 515-284-2607; email to seek complimentary copies via [email protected] or [email protected]). No matter what approach is taken to using the book and its CDs, every individual and class is encouraged to listen to as much jazz, both recorded and live, as possible. The book will be an effective guide only if reading is accompanied by extensive listening. For a course in The History of Jazz, the text can be used intact. The text also provides the essentials for a course called Understanding Jazz if it is accompanied by a well-chosen collection of recordings (such as the albums cited in endnotes) and several carefully conceived, in-class demonstrations by musicians. Previous editions of the text have been used in this way at several colleges, with these chapters providing the keys: “Elements of Music” appendix, Chapter 1 (What is Jazz?), Chapter 2 (How to Listen), and Chapter 3 (Origins of Jazz). Much emphasis was placed on the listening guides that appear throughout the text. Instructors usually supplemented that material with selected portions of styles chapters. The portions that give readers the greatest insight into how jazz is made are the non-biographical units that appear at the beginnings of the remaining chapters. Students are often confused and frustrated in courses where instructors do not routinely follow a detailed syllabus that tells what pages, terms, and musicians the students must know. Textbooks tend to be overwhelming when students assume that they must learn everything in them. Helpful teachers tell their students what not to be overly concerned with. A few examples will clarify this. Whereas some teachers consider sideman names to be superfluous, others believe that familiarity with every one of 20

Ellington's primary musicians is essential for a minimum understanding of the music. Whereas some teachers feel that to know Coltrane was an important post-Parker saxophonist is sufficient, other teachers consider an appreciation of Coltrane's McCoy Tyner-Jimmy Garrison-Elvin Jones rhythm section also to be essential. And some teachers want students to remember not only that Coltrane had roots in the style of Lester Young, but also that Coltrane influenced such recent giants as David Liebman and Michael Brecker. Some teachers believe that a basic introduction to jazz involves learning to discriminate soprano from tenor saxophone timbre. Other teachers feel that such a skill exceeds reasonable expectations for non-musician students. Whereas some teachers feel that students should be able to recognize the sound of a 12-bar blues before receiving a passing grade in an introductory course, other teachers are more concerned that their students remember the birthplaces of famous musicians. Some teachers believe that an immersion in the sounds of jazz is sufficient, and students need not acquire knowledge about how jazz is made. Regardless of a teacher's philosophy of education, students benefit from being told (a) what that philosophy is, (b) what pages to read, (c) what listening examples on the CDs to study, and (d) what they will be expected to remember from those materials.

21

CAN YOU TEACH JAZZ HISTORY WITHOUT ACCOUNTING FOR YOUR STUDENTS' PERCEPTUAL SKILLS?

The instructor who has listened to jazz for many years finds no difficulty in distinguishing many different styles. For some instructors, it is incomprehensible that other people cannot immediately recognize the distinctive features of tone quality and melodic conception that set Clifford Brown apart from Miles Davis or that separate Bix Beiderbecke from Louis Armstrong. However, most first-time listeners rarely notice such aspects. Even upon repeated listening, many bright, highly motivated students are unable to match a musician's name with his sound. In other words, while you are designing your course and particularly while teaching it, try to remember what it was like to not know these things and remember what you were like before you developed all these recognition skills. If you grew up in a musical family and/or a musical neighborhood, try to imagine growing up elsewhere. That may be helpful in getting perspective on precisely what your students are bringing with them. If you acknowledge the low-level listening skills that many students bring with them, you can help them and prevent losing their interest by requiring recognition of players on only a few instruments in each era. It may be best to hold students responsible for identifying the styles of only two major figures per instrument per era. If you do not spend a week or two discussing the “Elements of Music” appendix before launching your chronology of styles, consider first requiring familiarization with the contents of the Demonstration CD and/or the Steve Gryb Listening to Jazz video and devoting a week to Chapter 2 (How to Listen). Note that for most students it is not realistic to expect transfer of knowledge about syncopation, for instance, from its presentation in the Elements of Music Appendix to actually identifying examples in the music. When you cover “Chord Progressions and Tune Construction” in the Demonstration CD, you might assign the beginning of the avant-garde chapter for discussing how free “free jazz” actually is. It describes how chord changes guide solo improvisations. This is a splendid time to bring musicians into class, run a question and answer session, and make the musicians and your students pick apart the musical roles of improvisers. This may reveal how musicians know what to do at a jam session. Chapter 2 (How to Listen) requires much classroom illustration before it affects the listening skills of your students. Therefore, if you are a jazz musician, your students will be grateful when you bring in your own combo and demonstrate each principle (12-bar blues, 32-bar A-A-B-A format, stop-times, double-times, bridges, comping, trading fours, ride rhythms, walking bass patterns, etc.). If your own combo is not available, organize a combo of student musicians. During demonstrations, it is handy to have students turn to Elements of Music Appendix pages and follow along. The charts on page 275 provide a useful guide for your lecture/demonstration as well as a review that your students can study later. They can use it to accompany their own listening assignments, too. 22

If you do not have the cooperation of a group of musicians, use Music Minus One records or the Play-Along format available on Jamey Aebersold's series of recordings: A New Approach to Jazz Improvisation. (I like Vol. 6, Charlie Parker - "All Bird", because it has a twelve-bar blues, a couple of 32 bar A-A-B-A pieces, and solo breaks. And it has stereo separation that allows you to play the walking bass sound in isolation if you want to demonstrate that style, and/or improvise over it yourself.) You can get the Aebersold recordings quickly via phone: 800-456-1388; by FAX: 812-949-2006; www.jazzbooks.com or by writing Jamey Aebersold, P.O. Box 1244-D, New Albany, IN 47151-1244. Current prices appear in recent issues of down beat and International Musician. If you don't play jazz yourself, it is especially handy for your students to have a guest player visit class and explain and demonstrate jazz improvisation. You might be able to get by with only a pianist and bassist, but a trio or quartet would be more comprehensive. The earlier in the semester this happens, the more your students will get out of their remaining listening assignments because they will know what happened in the recording studios to make the music, and they will have a better appreciation for the extent of spontaneity in jazz. It is important to help students learn to distinguish instrument sounds that are common to different eras in jazz history. Therefore, require familiarity with the Demonstration CD and Steve Gryb’s Listening to Jazz DVD, and consider comparing these pairs of sounds in live demonstrations: drummer using sticks vs. drummer using brushes (on drum and on cymbal) electric piano vs. acoustic piano muted trumpet vs. un-muted trumpet (bring in Harmon and cup mutes) trumpet vs. trombone alto sax vs. tenor sax To further help students distinguish saxophone timbres, play recordings by musicians who play similar styles but blow different sized horns. For example, play: Charlie Parker vs. Sonny Rollins (1950s) Lee Konitz vs. Stan Getz (Cool) (both play on "No Figs" on the Jazz Classics CD2 from Jazz Styles textbook) Cannonball Adderley vs. John Coltrane (early 1960s) (Both play on “Two Bass Hit” on the Milestones album, excerpted on the Jazz Classics CD1 for Concise Guide to Jazz, and on "Flamenco Sketches" on the Kind of Blue album, excerpted on Jazz Classics CD2 for the Jazz Styles textbook.) David Sanborn vs. Michael Brecker (1970s)

23

One instructor told me he never covered such things in his jazz history class and did not require the Demo CD because most of his students have played an instrument and already recognize the sounds. Yet his course was for non-music majors, he had never run any surveys, and he did not really know how many of his students could recognize all the instruments on recordings. On the other hand, in surveys on students in jazz history and jazz appreciation courses all across North America, I have found that there are always some students in such classes who cannot recognize all the instrument sounds. Surveys reveal that from 40 to 60% of students in most Intro to Jazz courses have never played a musical instrument. Very few students can identify soprano sax or the muted brass. (Music majors who are non-jazzers cannot be expected to know high-hat or ride cymbal.) Some amateur musicians themselves in those classes have told me that they don’t know what their instructor is trying to get them to recognize. In many of these classes, the majority of students have no musical background at all. Other observations may help put this into a larger perspective. I have encountered veteran jazz fans, some of whom are published discographers, who still cannot distinguish an alto saxophone from a tenor saxophone on a jazz recording, and many fans, including disc jockeys and jazz journalists, who don’t know what a high-hat is or what sounds on a recording are coming from it. I even discovered that several eminent discographers had not detected the sound of a tuba on a famous 1923 recording. Another instructor told me that the Demo CD was not necessary to teach his students any instrument identifications because students heard only one soloist per chorus on the selections he played in class from SCCJ and the Jazz Classics CDs. He assumed they had learned them by his identifying them once in class. Yet I have interviewed his students and found a number who still reported not knowing what instrument was making each sound. This was especially true in busy, thickly layered numbers such as “Harlem Airshaft.” In fact, I have found students hearing the solos of Cootie Williams and Joe Nanton without realizing that the sources were a trumpet and a trombone. And many could not account for the sounds that you and I know to come from the saxophone section, the muted trumpets, or the trumpets and trombones playing together. Moreover, I have found Kenny G fans who don’t know that the sound they love so much is coming from a soprano saxophone. A number of instructors have told me they don’t risk neglecting lack of background in their students. They have mentioned that even many of their music majors don’t know the I-IV-I-V-I blues progression, or the parts of the drum set, for instance. It might help to realize also that there are non-jazz music professors who themselves don’t know what goes into the process of improvising jazz. (I once took a Ph.D. music professor to her very first jazz concert, and this professor at that time was writing an introductory music appreciation text.) The moral of these stories is that it is not safe to assume any jazz-relevant knowledge, even from students who might have played an instrument before college. So, despite your own confidence in the sophistication of the jazz listeners in your classes, instrument sounds need to be repeatedly identified during lectures, and the Demo CD is essential for students to own and use by themselves for reviewing such sounds. It may be best to err on the side of caution.

24

CONVEYING THE EXTENT OF SPONTANEITY IN JAZZ Students in jazz appreciation classes need to understand that most of what they are hearing on recordings was being made up by the musicians as they were performing it. Instructors tell me that their students often come back from attending live performances and report that the musicians were playing memorized solos and/or reading all the music from sheets! If such students were attending jazz combo performances, they were obviously confusing non-jazz formats with jazz format. As speaker at a booking agents’ conference, I discovered that most agents are also unaware. Classical soloists frequently perform without sheet music. However they do this because they have memorized, note-for-note, their entire part. Jazz musicians, on the other hand, usually perform without sheet music, not because they are playing memorized parts, but because what they are playing is not written down. It is being created at the very moment the audience hears it. If they have memorized anything, it is the chord progressions providing the harmonic basis for their improvisations. It is therefore essential to stress to your students that jazz musicians do not perform without sheets because they have memorized their entire parts, note-for-note. The only part the jazz musician has memorized is the set of underlying harmonies to the piece. All the rest of the solo is being made up as he goes along. It is essential to explain that when jazz musicians do perform from sheet music, it is usually for the purpose of following the chord changes. In fact, jazz musicians rarely refer to the music as "a score" or as "sheet music." They call it “a chart,” probably because that is exactly what it looks like. (Bring a real chart to class for students to examine so that they can see long stretches of nothing but the chords and slashes that indicate the organizing harmonies and their respective durations. If you have a large class, it would be best to make a transparency of an excerpt, and project it onto a screen.) Another confusing experience for the novice jazz fan is to witness a performance by a large jazz ensemble. This presents complications because little of the music in such big bands really is improvised. It is just a swinging concert band, with most of the musicians reading all their parts, note-for-note. (You can get around the problem by endorsing combo performances that will fulfill course requirements for attending live gigs.) But if the students do attend a big band gig, you must explain to them beforehand that when a musician stands up alone and plays a solo, that solo is improvised. And if the musician looks like he is reading his part, it is the only the sequence of chords that he is reading, not a note-for-note copy of his solo. In the case of combo performances, the musicians might have memorized preset introductions, endings and transitions, as well as theme statements at the beginning and end of a piece. However, identifying such organizational aspects should not be allowed to confuse the listeners into thinking that the bulk of the performance is also memorized. The bulk of the performance is spontaneous. The solos are spontaneous, and the accompaniments for the solo improvisations are spontaneous.

25

Jazz is improvised music. However, for most people, the idea that a musician can simultaneously compose and perform coherent music that has not been rehearsed is quite difficult to comprehend, perhaps impossible to believe. Therefore, the instructor must spend considerable class time explaining and demonstrating this. Many courses are taught in a strictly historical manner. Unfortunately, the graduates of those courses attend jazz performances without really knowing that they are hearing spontaneously conceived music resulting from little prearrangement, far less prearrangement than is used in most other music familiar to them. Demonstrating the act of improvisation is easy for the instructor who himself is a jazz musician. All he needs to do is tell the class that he is about to make up something new for them, and then proceed to play it. He must assure them that what he is doing is genuinely off the top of his head, and sometimes it helps when he uses themes and melodic fragments that his students supply. Those instructors who are not players might be a bit nervous about demonstrating improvisation. But they should not be. They can discuss the analogy to speech. Ask the question "Is everything you say something that you have said in exactly the same way before?" Students will say, "Of course not." Then explain that, "We choose from words we already know, and we improvise sentences with them, just as jazz musicians choose notes and rhythms to improvise musical sentences." Another way is to draw upon recordings that show how jazz musicians rarely play the same tune the same way twice. (Albums of alternate takes are handy for doing this.) Another strategy is to simply teach your students a song such as “I Got Rhythm” (Don Byas has a version on SCCJ). Then indicate the chorus lengths within improvised solos. Once your students can determine when one chorus starts and another leaves off, tell them to compare solo choruses. Short of playing the first few measures of two versions of the same ballad by the same improviser in the same key at the same tempo, this should help convey the principle of improvisation to your students. This is also demonstrated by “(Meet the) Flintstones” on the Demo CD. If everything is totally new to listeners, they are unlikely to be capable of recognizing what is different from one version to another or from one chorus to the next. For example, if a student does not know the melody to “Body and Soul,” Coleman Hawkins' entire solo on it will sound improvised! For this reason, first employ only the simplest melodies and the simplest improvisations. I had much success with “Freddie the Freeloader” from the Miles Davis album, Kind of Blue. The piece is a 12-bar blues, a form you would already have taught. The melody line is very clear and uncomplicated, and the Miles Davis trumpet solo is easy to sing along with. Just get the students to learn it and sing along with it. Then compare each successive chorus. By the third chorus of the Davis solo, students will have grasped the idea of improvisation.

26

IT IS EASY TO HELP STUDENTS HEAR THE CHORD CHANGES If you are not a musician, you might be intimidated by the prospect of helping your students hear chord changes. However, if you take a moment to run through the exercises in the “Elements of Music” appendix, you will be adequately equipped to provide your students with all the help they need. Just find a piano, and then follow the step-by-step instructions that have the piano keyboard illustrations (follow the dots). Then require students to study those same examples as they are heard on the Demo CD. Several non-musician instructors have told me that they use the appendix routinely at the beginning of the course. Some even require their non-musician students to compose an original 12-bar blues! (But if you do this, first explain the concepts of paired couplets and iambic pentameter.) A number of students told me that, independent of their course requirements, they performed the “Elements of Music” exercises with no trouble. (Some became so interested that they decided to get formal music lessons thereafter.) Most students are not sufficiently motivated to complete all the exercises independently. Therefore, it is a good idea to perform several of the counting/listening exercises in lecture and require students to review them later by themselves on the Demo CD. Don't feel shy about pulling the 12-bar blues illustration directly from the book. Your students will thank you for coaching them on something they can then try again by themselves. This advice also applies to the listening guides for the pieces by Duke Ellington, Count Basie, and Miles Davis. It is essential that you teach your students how to determine the tempo of a piece and how to find where the first beat of a measure is. Only when you have assured yourself that they can do this can you expect them to do it for a grade. For instance, something as complex as “Harlem Airshaft” (on the Jazz Classics CD1) requires your loudly counting every beat as it goes by and announcing each section as it arrives. Some instructors make stereo tape recordings in which one channel has music while the other has counting. Students can use both channels until they get the hang of it, then they can switch off the counting channel when they are ready to listen without such cues. All the listening guides in Concise Guide to Jazz tell how many seconds pass for each main event. In that way, the students can verify their perceptions of musical events because many CD players have indications for the passage of time. Some professors require students to construct event diagrams for at least one brief passage of one selection each week. The ups and downs of the solo line indicate pitch, and the line lengths indicate durations. Expression of accompanying sounds can be made graphically and organized in terms of beats in the song form. You might choose to have students juxtapose beats, song form, and seconds. Some instructors base their listening exams on such formats. One of the easiest places to begin training for such a task is the very slow “Flamenco Sketches,” from the Miles Davis album Kind of Blue, available on the Jazz Classics CD2 for the Jazz Styles textbook. The selection is based on five modes and analyzed, measure-by-measure, in the listening guide in that book’s Miles Davis chapter.

27

Students catch on to these principles and acquire these skills quickly if you first count each beat out loud with the music: 1234 2234 3234 4234 5234, etc., all the time using a pointer to indicate the piece’s construction on an overhead projection or a chalkboard chart. (Illustrations are on the Demo CD.) Remember that it is too much to expect students to identify the actual chord. You need only expect them to identify the moment when the chord changes. This becomes especially easy on Jazz Classics CD2’s “Maiden Voyage,” that accompanies the Jazz Styles textbook, and the tracking for it is actually keyed to such changes. The goal is to provide them with a glimpse into the mental activities of the improviser by providing information about one aspect the improviser must always keep track of while creating new lines. (Freddie Hubbard demonstrates this beautifully in his solo on that selection.) Note, however, that such material usually doesn't mean much unless it is preceded by the basics that are found in the “Elements of Music” appendix, accompanied by about a week's worth of demonstrations, question and answer sessions, and close study of examples on the Demo CD.

28

PITFALLS TO AVOID Now let's turn to a few pitfalls that almost everyone encounters. Having talked with dozens of instructors during their first semesters of teaching this course, I have identified these assumptions that can trip you: 1.

The book has 11 chapters, and I must cover them all.

No, don't even try. Just take five to ten that you feel comfortable with, and then do justice to each, and forget the rest. However, try to spend at least a week on contemporary sounds. Your students will be disappointed if you don't give some respectful attention to their favorites, or at least to musicians who are still living and performing. 2.

People already know how to listen, they've been listening all their lives.

Not true. Observations by other instructors and my own studies of listener cognitions, show that most non-musicians do not actively listen, they do not focus on individual parts. Note that this statement requires important qualification. It does not say that nonmusicians are incapable of focusing. It says only that frequently they are not in the habit of focusing. In fact, several reputable studies have shown that non-musician listeners are just as capable as musician listeners. Once they are told how to follow a sound or a group of sounds, they can attend as well as musicians can. 3.

Students already know who Benny Goodman , Miles Davis, Louis Armstrong, and John Coltrane are.

No, they don't. Even those few students who might recognize the names, rarely know what instruments were played by these musicians, much less their respective era or sound. For the most part, your students are going to be learning a foreign language from you, a language in which almost all the names and sounds are fresh. So when you are lecturing, keep in mind that you and your students do not share a common frame of reference. You must provide all their prerequisite knowledge before proceeding in your course. 4.

In one week, I can explain the fundamental principles behind chord change-based improvisation, mode-based improvisation, and free-form improvisation via demonstrations and many examples of the 12-bar blues and 32-bar A-A-B-A forms.

No, you can't. You might be able to mention all these principles, or review them aloud for yourself in a week. But you cannot get your students to the point of comprehending what it means for an improviser to select his notes from the framework of the 12-bar I-IV-I-V-I progression or alter his phrasing when he comes to the bridge of a 32-bar A-A-B-A song form and what rules keep strangers at a jam session playing well enough together to 29

create a respectable performance without knowing each other or having any prior discussion among themselves. However, you could do it if you allowed yourself more time, perhaps 2 or 3 weeks. And you could do it if you:

5.

a.

frequently brought musicians to class and;

b.

played "Misty" or the "(Meet the) Flintstones" theme (the only 32-bar A-A-B-A songs they are all likely to know) while;

c.

counting measures aloud and;

d.

used charts on the chalk board to guide the listening of your students while the musicians are playing

e.

played several slow, simple, blues pieces (by B. B. King or T-Bone Walker, or “Hound Dog” by Elvis Presley, perhaps), then;

f.

gradually moved to more complex pieces (from blues by Bessie Smith to blues by Count Basie to Charlie Parker to John Coltrane);

g.

all the while, requiring your students, outside of class, to practice counting the beats to blues pieces that were on reserve in their library or recommended as downloads or streamed from the internet.

Students already know the instruments in jazz bands.

No, they don't. You must show them and demonstrate them. Remember that saxophones are not common, especially in symphony orchestras and even in rock bands. Furthermore, even if a non-musician does see one, if no one tells him what it is she will still not know what saxophone it is, and she will know nothing about the differences among soprano, alto, tenor, and baritone saxophones. (The first time they saw it, most of my students thought the soprano sax was a metal clarinet.) Perhaps a few anecdotes will give us more perspective. A dean at my college, who knew that I played flute, was reading the newspaper and saw a publicity photo of me holding my flute, and exclaimed, "Mark, I didn't know you played clarinet, too." (And this was a man who previously had reported to me that he was "a jazz fan"!) I also remember a particular nightclub gig in which I was playing flute with my guitarist and acoustic bassist, and one enthusiastic patron ran up to us to compliment my bassist on his "cello" solo and me on my great "clarinet" playing. (This was the same patron who had previously told me how much he liked jazz and how large his record collection was!) It may also be instructive to note that several of my students confused the saxophone with the trumpet in listening to their copies of the Miles Davis album, Kind of Blue. A few more anecdotes should help complete our perspective on the normal extent of ignorance in the population at large. Once I was being interviewed on radio by a well30

known jazz disc jockey. And, after listening to a Stan Getz record and hearing me say "This featured Stan Getz on tenor sax," the disc jockey said to the audience that she'd assumed that Getz was playing alto sax. That makes me recall the time I was driving my young bassist to a gig, while the car stereo was playing an Eric Dolphy bass clarinet improvisation, and my bassist commented, "What an unusual tone that alto saxophonist has!" Then there was my gig for a private party at a millionaire's house. When we took a break, I set my flute on the piano and sat on the couch, away from the guests, but still within earshot. Soon a guest sat down at the piano and started playing old Irish songs, and several other guests gathered around him. One looked at my flute, and said to the other, "That's an oboe, isn't it?" The other replied, "No, it's a clarinet." And the guest kept on playing piano. No one offered any further corrections. Not even the piano-playing guest seemed to know what instrument I’d set on the piano. These anecdotes are cited here, not for their comedy value, but because they reflect the limits of instrument familiarity you are likely to encounter among your students. Humility in this concern might be afforded when you ask yourself how many jazz friends of yours can differentiate a viola from a violin, by sound or appearance. Yet classical players find this to be a major distinction, though it is no better known a distinction among outsiders than are the distinctions between the alto and tenor sax or between the clarinet and soprano sax. And how many people do you know who can open the hood of their car and name all the engine parts underneath? The point is that we all possess specialized knowledge that we accidentally assume is possessed by the population at large. So, at least in the case of instrument identifications, one solution is to frequently direct your students to the instrument photos in their textbook while they are listening to recordings of the sounds made by those instruments. Another solution is to require students to familiarize themselves with all the instrument sounds on the Demonstration CD. Incidentally, many probably will not do that unless you promise to require such identifications on exams. TROMBONES are pictured in chapters on Origins of Jazz and early jazz. SOPRANO SAXOPHONES are pictured in chapters on early jazz, Coltrane (page 175) CLARINETS are pictured in the chapters on Origins of Jazz, Early Jazz and Swing. FLUEGELHORN is pictured in the swing chapter. TUBA is pictured in the early jazz chapter (as Sousaphone). BARITONE SAXOPHONE is pictured in chapters on swing and cool jazz. VIBRAPHONE is pictured in the bop chapter. TENOR SAXOPHONES are pictured in chapters on How to Listen, swing, bop, hard bop, avant-garde and NOW.

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ALTO SAXOPHONES are picture in chapters on swing, bop, hard bop, cool, avantgarde, and NOW. TRUMPETS are pictured in chapters early jazz, swing, bop, hard bop, and NOW. BASS VIOLS are pictured in almost every chapter. BASS GUITARS (FENDER BASS) are pictured in the fusion chapter. BANJO is pictured in the Origins of Jazz chapter. DRUM SET is pictured in almost every chapter. ELECTRONIC KEYBOARDS are picture in fusion chapter. HIGH-HAT CYMBAL APPARATUS is pictured in the How to Listen chapter. There is another method for helping students learn to match the appearance with the sound of jazz instruments, and it increases student attention and enthusiasm, too. Simply gather jazz movies, DVDs, and videotapes for class presentation. If your department has a budget for such materials, just watch the reviews and advertisements in down beat and Jazz Times. Then order whatever videos look intriguing. A few distributors include Rhapsody Films, P.O. Box 179, New York, NY 10014 (phone: 860-434-3610); Jazzland, Box 366, Dayton, Ohio 45401 (phone: 800-876-4467; www.landofjazz.com); and Jamey Aebersold (P.O. Box 1244-D, New Albany, IN 47151-1244; phone: 800-456-1388). Every city has at least one person who collects jazz films, and usually he videotapes jazz-related shows from television. So make friends with that person and begin borrowing materials. Libraries, especially some of the larger ones, also lend jazz-related films. If yours does not own the important ones, they can order them for you via interlibrary loan. To keep up with much of the material in jazz pedagogy, subscribe to Jazz Times. They review new books, albums, and videos in their publications. Jazz Times subscriptions can be obtained at: 85 Quincy Avenue, Suite 2, Quincy, MA 02169; phone: 800-437-5828; www.jazztimes.com.

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CONSIDERATIONS REGARDING NONMUSICIANS IN GENERAL EDUCATION COURSES They differ from musicians in: 1. listening skills 2. motivation 3. vocabulary 4. previous exposure to music, particularly jazz 1. LISTENING SKILLS ARE WEAK with respect to: a. detecting the beat ("Where's 'one'?") b. identifying the instruments I taught jazz history for about 2 years before realizing this. A student came to me after class and said, "When you drop the needle down on a record and say, 'Listen to the trumpet' or 'Listen to the sax,' I don't know which sound you mean." c. acknowledging every note in a melody line (Contour might be all they are accustomed to following.) d. noticing components of accompaniment (comping, walking bass, etc.) e. hearing chords change f. sustaining attention for any given part (unless it has words) Remember: IN TODAY'S CULTURE, MOST MUSIC IS BACKGROUND MUSIC. There is music all around us. Therefore most PEOPLE LEARN TO TUNE IT OUT, at worst, or hear only slices of it, at best. FOCUSED LISTENING IS NOT A COMMON HABIT. 2.

ACADEMIC MOTIVATION AND SELF-DISCIPLINE ARE LOWER THAN IN MOST PEOPLE WHO HAVE BEEN PLAYING INSTRUMENTS FOR MANY YEARS. Non-musicians are less inclined to: a. prepare for class on their own b. study without the threat of a quiz or exam grade c. attend concerts or jazz club gigs unless for credit d. study more than about 3 hours per week per course At one university, two students told me they got A's on their midterms and assumed they would do just as well for the entire course. But they got C's for their course grade. It was a 10-week course with only a midterm and a final. So they must have flunked the final. Apparently, the midterm format was informationonly, no listening, but the final had listening items. So I asked whether the 33

instructor had made listening assignments throughout the quarter. The students said HE MERELY TOLD THEM, "LISTEN TO THE TAPE THAT COMES WITH THE BOOK." And, the students insisted that they did precisely that. They listened to the WHOLE TAPE the night before the final! This made me remember a graduate course I had taken at the beginning of my doctoral studies. The course grade was based entirely on one term paper. I got an "A" because I wrote well and had original ideas. But I only read the assignments, never really LEARNED them. Then I remembered an English course I'd taken in which the professor was prone to pop quizzes. I now recall it being the ONLY course for which I really attempted in-depth understanding of each assignment BEFORE coming to class. Otherwise, as one of my other professors contended, the only time any real learning occurred on that campus was during midterms and finals weeks. The trouble with this motivation situation when it comes to jazz appreciation is that listening skills develop in ways similar to mathematics prowess. HIGHER SKILLS BUILD ON EARLIER ONES, AND IT TAKES A GRADUAL BUT CONTINUOUS PROCESS TO ATTAIN COMPETENCE. That's why math courses have daily assignments that have to be handed in, recitations, and frequent quizzes. One of my musician friends teaches a jazz appreciation course, and I'd met some of his students on my gigs and found that they did not know anything about what was going on or what to listen for in the music. He didn't know that I knew this. So, once at a private party that he and I were playing with a bassist who was a music education major, I asked him how he taught the course. He said he showed videos, assigned a book report, a concert review, and put my book on sale in the bookstore. I asked him whether he'd ever CONSIDERED GIVING QUIZZES TO CHECK WHETHER HIS STUDENTS READ THE BOOK OR LISTENED TO THE TAPES. He said, "Hell, no! WHAT DO YOU WANT ME TO BE? THE JAZZ POLICE!?" (My bassist interpreted this as not taking teaching seriously.) 3.

VOCABULARY OF MUSICAL TERMS AND FAMILIARITY WITH THE BIG NAMES IN JAZZ IS USUALLY NEGLIGIBLE. Previous exposure is scattered, particularly with respect to any jazz that was popular prior to their high school years. Don't count on recognition or reverence for Louis Armstrong, Duke Ellington, or even Miles Davis, or any tune familiarity, either, except perhaps for "(Meet the) Flintstones."

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HOW CAN YOU ACCOMMODATE THESE DIFFERENCES? 1.

Use class time for coaching, not lecturing a. present many listening exercises b. emphasize many re-hearings For instance, I usually spent at least 30 minutes replaying brief segments of “Harlem Airshaft” and asking students to tell what they heard each time. Only after many such exercises did I play the selection in its entirety. Then when I did, I required students to listen with their eyes closed. Note: Music learning is not the only task that requires re-hearings. For instance, why does directory assistance tell you the phone number twice? Why can’t you retain foreign-language words as well as English words? Remember that jazz is essentially a “foreign” language to your students. c. Adhere to the philosophy of LESS IS MORE. Rather than trying to share your love for as many sounds as possible, select a few, and do them justice with in-depth attention. And always do it at your students' pace, not yours. Don't be afraid to skip around among the topics in your course textbook. (I never covered more than half of the big names in my own book in any given semester, though I alternated what I cut from term to term.) Whatever information you merely lecture on, you could just as easily relegate to reading assignments, thereby freeing up valuable class time for activities your students could not do as well without you. (Think of yourself as a listening skills coach, not as a purveyor of information.)

2.

Structure your course to devote at least a third to the basics of listening skills, thereby covering fewer styles, but with greater depth of listening.

3.

Spend time IDENTIFYING STYLE CHARACTERISTICS and LISTENING FOR THEM during class, instead of reciting sordid biographical information and social history that has no value at increasing depth of listening. (Have you noticed that some current jazz history texts read like the NATIONAL INQUIRER?)

4.

Require explicit, questioning-style listening homework for every class period, with listening quizzes as follow-ups. "How did the clarinetist's approach differ from the trumpeter's? (More notes? Jumpier? Less swinging? More surprises?”) "Which solo did you like the best? Why?” 35

“Hum back a few of your favorite phrases. Were they harder to follow than the other solos? If not, why?" After giving students familiarity with a few important sounds, such as Harmonmuted trumpet or walking bass, for instance, send them on "scavenger hunts" for other examples. (Harmon-muted trumpet is currently common in movie background music, as is the Jaco Pastorius electric bass sound of sustained, ringing tones that have a high center of gravity.) Don't merely tell students: "Listen to the CDs that came with your book" or "The CDs on reserve will be on the final exam." THE TWO MOST IMPORTANT ASPECTS OF THE MUSIC TO CONVEY in a jazz history or appreciation course for non-musicians are (not history or biography): 1.

IMPROVISATION a. what it is b. how to recognize it when it happens c. how to follow it

Here is a story to illustrate how important those aspects are. One night on my gig, three students from a jazz appreciation course came to the closest table to listen and review our music. After I'd played an entire set of jazz, one said to me, "Please be sure to tell us when you start improvising." Their teacher had never explained the standard performance routine to them (tune, improvisation, tune). And, when they saw a fakebook on the stand, they apparently assumed we were reading every note, as classical musicians do. It never dawned on them that we would have been turning lots of pages if we really were reading all our notes from the sheet. 2.

HOW TO HEAR THE DIFFERENT PARTS and recognize the roles they play in relation to each other, for example, comping and walking bass.

Later you can worry about how many styles to introduce. But only after these first two aspects are firmly understood do the styles get fully appreciated and differentiated. This is what students will carry with them, long after they graduate and long after they forget the names and the style periods. (I have interviewed ‘A’ students at several different colleges, a few months after the end of their semester and found that they rarely could remember the era for any of the major players, and most have forgotten the instruments they played.)

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VIDEO RESOURCES FOR TEACHING JAZZ APPRECIATION Gryb, Steven D. Listening to Jazz (Prentice Hall, 1992) ISBN 0-13-601053-9; available by phone 800-947-7700 or web prenhall.com; DVD/52 min.; demonstrations of instruments and their roles, corresponding to the audio on the Demo CD for Mark Gridley, Jazz Styles: History and Analysis. After Hours [plus Jazz Dance] (Rhapsody, 1961; c2000); VHS/49 min.; featuring Coleman Hawkins, Roy Eldridge, Milt Hinton, and Cozy Cole. The Coltrane Legacy (VAI: 4220, 1985, c2002); DVD/61 min.; John Coltrane performing with Eric Dolphy, Elvin Jones, McCoy Tyner, Reggie Workman, and Jimmy Garrison; interviews with Jones, Workman, Jimmy Cobb, and Roy Haynes. Duke Ellington in Hollywood (Idem: 1029); DVD; film clips of Ellington bands, 19291943. Great Performances: Lester Young · Charlie Parker · Miles Davis (Idem: 1057, c2003); DVD/60 min.; Jammin’ the Blues with Lester Young; Charlie Parker (1952 with Dizzy Gillespie and 1950 with JATP); and Miles Davis with John Coltrane & Gil Evans. One Night with Blue Note: The Historic All-Star Reunion Concert (Blue Note/EMI Video: 96008, 1985, c2003); DVD/120 min.; Bobby Hutcherson, Herbie Hancock, Ron Carter, Freddie Hubbard, Joe Henderson, Tony Williams, Art Blakey, Curtis Fuller, Johnny Griffin, Kenny Burrell, Grover Washington, McCoy Tyner, Jackie McLean, Woody Shaw, Jack DeJohnette, Charles Lloyd, Jimmy Smith, Cecil Taylor, and others. Piano Legends (VAI: 4209, 1986, c2001); DVD/63 min.; hosted by Chick Corea; includes Earl Hines, Mary Lou Williams, Fats Waller, Art Tatum, Teddy Wilson, Bud Powell, Thelonious Monk, Lennie Tristano, Dave Brubeck, Horace Silver, Bill Evans, McCoy Tyner, Cecil Taylor, Keith Jarrett, and others. Reed Royalty (VAI: 69072, c1992); VHS/58 min.; hosted by Branford Marsalis; includes Benny Goodman, Sidney Bechet, Benny Carter, Johnny Hodges, Charlie Parker, Sonny Stitt, Cannonball Adderley, Gerry Mulligan, Lee Konitz, Eric Dolphy, Ornette Coleman, Anthony Braxton, and others. Satchmo (Columbia Music Video: 49024, 1989, c2000); DVD/86 min.; the career of Louis Armstrong. The Sound of Jazz (Idem: 1058, 1957, c2003); DVD/70 min.; an unedited copy of the kinescope of the CBS broadcast with performances by Henry “Red” Allen, Count Basie, Lester Young, Coleman Hawkins, Ben Webster, Billie Holiday, Roy Eldridge, Thelonious Monk, Jimmy Giuffre, and others. This has the famous “Fine and Mellow” with Holiday and Lester Young.

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Tenor Titans (VAI: 69073, c1992); VHS/60 min.; tenor saxophonists: Coleman Hawkins, Lester Young, Stan Getz, Dexter Gordon, John Coltrane, Wayne Shorter, Sonny Rollins, David Murray, and others. Thelonious Monk: Straight No Chaser (Warner Video: 11896, 1988, c2001); DVD/90 min.; live performances and a recording session; some dialog. Trumpet Kings (VAI: 69036, c1985); VHS/60 min.; hosted by Wynton Marsalis; includes Louis Armstrong, Red Allen, Bunny Berigan, Cootie Williams, Rex Stewart, Roy Eldridge, Dizzy Gillespie, Miles Davis, Art Farmer, Clark Terry, Lee Morgan, Freddie Hubbard, Lester Bowie, and others. The Universal Mind of Bill Evans: The Creative Process and Self-Teaching (Rhapsody: 9015, c1991); VHS/45 min.; Evans talks and plays. Charles Mingus: Triumph of the Underdog (Shanachie: 6315, 1997, c1999); DVD/78 min. Duke Ellington & His Orchestra: 1929-1943 (Navarre: 16033, c2003); DVD; film clips of the Ellington orchestra. Marsalis on Music Series. Why Toes Tap: Marsalis on Rhythm. Sony Classical Films & Video, 1995, SHV 66488. (53 min.) Listening for Clues: Marsalis on Form. Sony Classical Films & Video, 1995, SHV 66489. (54 min.) Sousa to Satchmo: Marsalis on the Jazz Band. Sony Classical Films & Video, 1995, SHV 66490. (55 min.) Wynton Marsalis talks; his band and students play demonstrations; Why Toes Tap covers sounds of rhythm, rests, meter and measures, tempo, ground rhythm, and syncopation; Listening for Clues covers exploring form, sonata form, 32-bar song form, theme and variations, and the blues; Sousa to Satchmo covers instrument expertise, counting like a musician, jazz vocabulary, improvising and ragging, and connections. Most of the videos listed may be available from these distributors: Rhapsody Films 46-2 Becket Hill Rd. Lyme, CT 06371 860-434-3610

Jazzland Box 366 Dayton, OH 45401 800-876-4467 www.landofjazz.com

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www.amazon.com

Jamey Aebersold Jazz, Inc. P.O. Box 1244 New Albany, IN 47150-1244 800-456-1388 www.jazzbooks.com

Cadence Music Sales Cadence Building Redwood, NY 13679 315-287-2852 www.cadencebuilding.com

Cautions Regarding Classroom Use of Videos A few considerations are in order before you start students off with videos. The visual component of jazz performances can be a distraction, and the music in jazz videos is rarely as good as most studio recordings. Additionally, production quality is further diminished because many historic jazz videos lack synchronization between the audio signal and the picture. Sometimes they don’t even use the same performance for the audio. Consider a few examples of distracting elements. Instead of focusing on the unfolding of the improvised lines, newcomers focus on Dizzy Gillespie's huge cheeks, Louis Armstrong's bulging eyes, dancers on stage with the bands, and the cigarette dangling from the saxophonist's fingers while he is playing. Newcomers are often distracted by the mugging that both Gillespie and Armstrong do in their filmed appearances. Misinterpretations can derive from the tendency to link visual information with musical elements. The converse of Gillespie and Armstrong mugging examples is exemplified in a magazine’s review by a journalist who was present during a performance of Bill Evans at the Village Vanguard nightclub in New York. The reviewer wrote that Evans "failed to communicate." Apparently this impression was made because Evans failed to do any mugging! The internal drama of the piano improvisations eluded the reviewer, whereas Evans' shy stage presence and deep concentration underwhelmed the reviewer. This also makes me recall the time that one of my students returned from a jazz concert complaining that the guitar soloist was "uninvolved," not emotional. I was at the same concert and had noticed that the guitarist was musically very involved, improvising brilliantly, but displaying complete economy of motion. Apparently my student had mistaken lack of gyrations for lack of emotion. Keep in mind that we live in a culture of physicality. This culture can handicap outsiders who attend concerts and watch videos because they fall prey to the same bias. This illustrates the fact that jazz is not a particularly visual medium. Most performances are not dramatic, especially to nonmusician viewers, even if the improvisations are profound and hot. It is not opera. It is not Broadway. Its virtues don't translate to choreography during the act of improvisation. So don’t be surprised if your students begin talking and texting a few moments into any jazz video that you begin showing them. Despite these misgivings, you might recognize that for many students who have never seen any live jazz, even perfunctory performances by the top players can be compelling experiences if these performances are visual. Knowing this, you may want to decide whether you feel that for your students to be seeing giants in action offsets the prospect of not seeing them at all, even if captured during mediocre or perfunctory performances. 39

Showing videos might not directly increase listening skills, but they might increase interest in the music. One instructor told me that after he first showed a video by a particular jazz giant his students tended to get more out of hearing that same giant on classic recordings by him. So, even though the physical appearance of the player could be distracting, it also could pull students into taking his music more seriously than if they never saw him in a video. In other words, the increase in student motivation may offset the decrease in concentration caused by distracting elements of the movie experience. Note, however, that you also need to decide whether precious class time is better spent analyzing a stunning performance that is available only in audio format or in presenting a video sample of a major player in a performance that does not do the player justice. Also ask yourself whether you dare risk using available videos as an excuse for not preparing an interactive class presentation of your own. Caution is in order for instructors who show excerpts from the Ken Burns JAZZ television series. Careful editing will be necessary before showing any episodes from it. Otherwise, you may be distracting your students with biographical, social and political side issues that have little to do with the music. Studies show that students are inclined to remember primarily the tragedy and irony in the dramatic non-musical passages instead of the inspired performances of the jazz giants. Such findings are reasonable because personal narratives are easier for non-musicians to understand than the abstract music itself. Most importantly, studies show that such information will influence the way they perceive the music. For instance, commentaries about sad lives can cause students to perceive more sadness in the music than they would perceive if left solely to their own evaluations of the music. Commentaries about anger can cause students to perceive anger in the music that they would not otherwise perceive. The most significant implication of such findings is that sadness and anger might not be present in the music, but listeners may accidentally impose it on the music if primed to expect it. Another problem is that instead of becoming impressed by how musicians overcame adversity in their lives, many students will dwell upon the adversity itself and not get further into an appreciation of the music itself. One solution to these dilemmas is to be highly selective. The Sound of Jazz, for example, is an excellent video, in terms of improvisational quality, and it samples more jazz giants playing well than you will find in any other filmed performance (Coleman Hawkins, Ben Webster, Lester Young, Count Basie, Roy Eldridge, Gerry Mulligan, Thelonious Monk, and others). It also has several 12-bar blues and 32-bar A-A-B-A song forms with solos that closely adhere to the chord changes in them. NOTE: If you decide to show videos in class, consider the videos available in the Jazz Icons series (http://www.jazzicons.com). Their videos are among the best. Visuals are synchronized with audio signal, and most performances are not merely perfunctory. Many are from well produced television shows.

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Another solution to these dilemmas is to recognize that you could put the videos on reserve for your students to watch at their convenience outside of class. You could also arrange clearance to show them on the campus television network. Instead of showing the videos in class, you could save that precious class time for analyzing and discussing music and taking questions about what is happening in the classic recordings. Note: The videos listed in the chapter-end VIEW sections of the textbook are offered merely for glimpses of the jazz giants at work, not as endorsements of improvisational quality. By contrast, consult the items in the chapter-end LISTEN sections for particularly interesting and well-developed solo lines. Unlike the videos, these audio recordings are mostly timeless masterpieces that were selected from sifting through thousands of selections.

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HOW TO USE THE DEMONSTRATION CD Introducing Sounds in Isolation before Listening in Context The most effective way to help listeners detect something in context is to expose them to it first in isolation. For instance, if you want someone to notice walking bass within a bop combo improvisation, first bring a bassist to class, and have him demonstrate the walking technique. If you want listeners to notice the sound of drummer Jo Jones keeping time with a Count Basie combo, let your students first see and hear a drummer play similar patterns on high-hat cymbals in class or on the Steve Gryb video Listening to Jazz. Only after that experience, will neophyte listeners feel confident in pinning a label on that aspect of the rhythm section sound within a jazz recording. And having labeled it perceptually, they might begin to appreciate the contribution that element makes to the overall sound of the Basie band. For that reason, the Concise Guide to Jazz textbook comes in several different formats: book with DEMO CD of 171 narrated instrument demonstrations (ISBN 0-205-95901-6); book with the demonstrations CD plus Jazz Classics 2CD set of historic recordings (ISBN 0-205-94085-4); book alone (ISBN 0-205-93700-4) with option to purchase compact disc versions separately: Demo CD (ISBN 0-13-601098-9) and Jazz Classics Compact Discs for Concise Guide to Jazz (ISBN 0-205-93738-7) or both Jazz Classics CDs with the book (ISBN 0-205-95902-4). Each of these is available free to instructors who require their students to buy any version of the textbook. For your complimentary copy, contact your local Pearson field representative, email [email protected], phone 800-526-0485, or write College Humanities Marketing, 1 Lake Street, Prentice-Hall, Inc., Upper Saddle River, NJ 07458. Perhaps some personal recollections will illustrate my sympathy for your situation. When I began teaching jazz appreciation courses, I assumed that, like me and all the kids on the street where I'd grown up, everyone knew what a trumpet, saxophone, flute, snare drum, and bass drum was. So when my department chairman suggested that we make General Music ("The Listening Experience") a prerequisite for Music 229: History and Styles of Jazz, I rejected his idea. But he compromised with me and put a note in the course roster, saying that the prerequisite for my course was General Music "or consent of instructor." So I began looking for advantages that might accrue from listening skills that students acquired in that prerequisite course. I reasoned that perhaps the course really could do some good by familiarizing students with basic tone colors so that I did not have to spend class time on them and would therefore have more time to introduce different jazz styles. To verify this assumption, I began interviewing the people who taught that course. But I found that they did not, as a rule, teach students to distinguish the sounds of the instruments common to jazz. I also began asking my students whether they really had taken General Music. Then I began noticing that, within recordings, some could not distinguish a sax from a trumpet sound, and that some of those who failed such a basic identification had taken the prerequisite. In other words, it 42

didn't seem to make any difference whether they had already taken General Music. In conclusion, what I discovered was that, unlike me and the other kids on the street where I'd grown up, a substantial portion of college students could not tell the difference between jazz instruments, in appearance or sound, and general music appreciation courses failed to remedy this. I also learned that some music majors were unfamiliar with high-hat, walking bass, or piano comping. I have since learned that many jazz critics and a few discographers also lack such knowledge. Even though it took me a few semesters to recognize the situation, I eventually reorganized my syllabus and cut the number of jazz styles in my course to make way for presentations of such basics as instrument sounds and song forms. I ultimately settled on a program in which the entire first month was filled teaching basic listening skills: the names, appearances and sounds of the instruments; the construction of basic song forms (32-bar A-A-B-A, 12-bar blues, etc.); meter and syncopation; the fundamentals of listening (graphing solo lines, focusing on different instruments in the band one-at-a-time, recognizing the difference between staccato and legato, etc.). Members of my own professional bands and other free-lance musicians in the community helped me do this. By the time I'd worked the bugs out of the course and accounted for the musical ignorance of non-musician students, I was routinely scheduling at least three weeks of demonstrations scattered throughout every semester. These were class meetings during which musicians appeared, demonstrated their instruments, and discussed how they improvised. Luckily, I was blessed with a department chairman who suggested that the college could afford a modest honorarium for each guest musician. (It was $20 in 1971.) But, I also found out that many local professional musicians and almost all student musicians were quite willing to visit my class and demonstrate their craft for free. So, if you have no budget for guest players, don't despair. There are at least three alternatives available: 1.

Recruit volunteers.

2.

Do favors for the musicians. (Treat them to a free dinner or drink. Involve them in faculty recitals that will help them attain recognition in the community. Help find them private students to teach. Tell your students where the musicians are performing, thereby increasing attendance at their gigs.)

3.

Dip into your own pocket for carfare. (No matter what burden this may place on you, it always proves worthwhile over the long run because the demonstrations will enhance your effectiveness and reputation as a teacher.) Provide transportation for the musicians yourself, in your own car on your own time, and/or in student-driven vehicles, and always give the drummer a hand with his equipment, getting it up and down stairs, through security, in and out of doors.

Unfortunately, we never had the opportunity to put the entire production on video, though Steve Gryb adapted my script from the original version of the Demonstration Cassette and prepared a one-hour videocassette introduction for many of the basics. It is now available in DVD format as Listening to Jazz (published by Prentice-Hall as ISBN 0-1343

601053-9). It can be obtained by special order through any bookstore or to individuals by phone (800-947-7700) or FAX (515-284-2607). Instructors who require their students to buy Jazz Styles or Concise Guide to Jazz can get the video for free by phoning 800-5260485 or via email from [email protected] or [email protected]. The next best thing is to provide you with an approximation of those events that occurred during the very first week of classes in my course. But before we get to that, let's briefly consider how to get students to come to class, take demonstrations seriously, and earn acceptable grades. Constructing Listening Quizzes from the Classics CDs and Demo CD If you are afraid that your students will view live musician demonstrations as entertainment instead of a method for expanding their listening skills, then organize a third of the semester's tests and quizzes around the appearances and sounds of the instruments that are demonstrated. For a quiz, just cue up the Demo CD to the sound of an instrument without the narrative. Then play that segment, making certain to give no hints about what portion of the CD held that particular sound, for example, track 25 or 26 illustrating both 12-bar blues and walking bass. After students have had listening assignments on chords, chord progressions, 12bar blues, 32-bar A-A-B-A (ala “Flintstones”) from the DEMO CD and were told they would be quizzed on their understanding of them, you could give two quiz questions from one musical selection. Just cue up the 12-bar blues progression by walking bass (track 25), and ask students to circle one of these options: a. blues, b. 32-bar A-A-B-A, c. neither. Then ask students to circle: a. walking bass, b. comping, c. ride rhythm. After assigning listening homework for mutes and brass instruments, you could play the Harmon-muted trumpet example from track 65 of the DEMO CD, and then ask students to circle one of these options: a. guitar, b. harmonica, c. Harmon-muted trumpet. When making exams, you need merely note the track number, and then play it for your students. This may motivate students to learn both the sounds in isolation (from their copies of the Demonstration CD) and the sounds in context (from their Jazz Classics CDs). To integrate this effectively, clearly state in your syllabus that: 1. Some of the quiz and exam sounds will always be selected directly from the CDs, and that 2. students can reinforce their learning by regularly studying the CDs. (The Jazz Classics CDs have corresponding listening guides in the text that identify which instruments are sounding at which moments.) Here are some concrete examples of how to integrate the CD contents into study assignments, long-term learning, and test design. To help students learn the parts of the drum set, frequently direct their attention to the illustrations in Chapter 2. After having a drummer play in class and dissect his equipment for your students, tell the class that a 44

quiz will require them to identify all the parts of the basic drum set. Then, when constructing your quiz, just photocopy the sketch of the drum set that appears in the book, and use Liquid Paper or Wite-Out to blank the labels. Use the altered photocopy as a master, and include it in your quiz. Make all instrument names blank, but numbered as "fill-ins" (easy for you to score). For measuring transfer of training, photocopy a drum set illustration from a different chapter or from an instrument advertisement in a music magazine such as down beat or Jazz Times. Here's a listening skills variation upon the above idea. Prepare an altered picture of the drum set, and put blank spaces next to all the unlabelled parts. Distribute copies to your students. Then cue up the Demo CD to a brief sequence of sounds produced by those parts of the drum set (high-hat, snare drum, etc.). Play the sequence, and require your students to number the sounds on the parts of the picture according to the order in which you played them. You need not limit your selections to drum sounds, either. Copy illustrations of other instruments (trumpet, soprano sax, clarinet, etc.), and make a collage of them. Then put blanks next to each, and play the instrument sounds from the CD (minus the narrative), asking students to number the blanks in the same sequence that they heard the sounds. Later in the semester, do the same thing, but use recorded moments that you have excerpted from other albums that the students have studied, or from the Jazz Classics CDs. A listening quiz administered during the first third of the semester could consist of the jam session that occupies Track 98 (Instrument Quiz) on the Demo CD. Each instrument is featured for at least one chorus, and none are identified in the narration. Though it is intended as a self-quizzing strategy, you could also use it repeatedly as the basis for listening exams, choosing different instruments for each test. The Jazz Classics CDs for the Jazz Styles textbook also provide convenient examples of instrument comparisons on the same piece: clarinet, trombone, baritone sax, alto sax and tenor sax on “No Figs” and Harmon-muted trumpet, tenor sax, and alto sax on “Flamenco Sketches.” Jazz Classics CDs for the Concise Guide to Jazz textbook provide back-toback comparisons of trumpet, tenor saxophone and trombone on J. J. Johnson’s “Get Happy” and Art Blakey’s “The Egyptian.” It is also instructive first to tell students that some demonstration items from the CD might be used again. Then repeat a few items each time you give a listening exam. This may ensure that those students who fail an earlier test are motivated to study the CD again because they know that they will get another chance. When selecting the excerpts for a test, avoid playing the items in the order that they occur on the original. Otherwise, some students will begin getting the correct answers merely because they have learned the order associated with the correct names of the sounds. And be certain to change your quizzes from semester to semester. Veteran students will coach your new students, thereby preventing new students from learning the

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sounds. If you do not change exam items from semester to semester, many students will learn only the test-taking strategies, not the course material. In addition to providing a self-paced instructional program for novice listeners, the Demo CD provides instructors with audio materials to use for quizzes and listening exams. This will be effective if your course syllabus presents all this. In other words, your students will learn a lot on their own if you key textbook page numbers to listening assignments on the Demo CD and, in turn, if you make mastery of those assignments prerequisite for following the music on the Jazz Classics CDs. Students might review material on their own that you don't have time to review in class if this is all posted in your course syllabus along with a clear announcement that quizzes will be drawn from these materials. You can facilitate this by printing textbook page numbers in your syllabus, along with the track numbers of selections on the Demo CD that illustrate the points made in those text passages. To get you started on such a practice, introductory portions of many listening guides indicate sounds to be learned from the Demo CD before attempting to follow the music. Incidentally, I have heard from students whose instructors assigned the Demo CD at the beginning of the semester yet never referred to its contents thereafter. The concepts were not reviewed or integrated with listening to the jazz classics. These students were not able to apply the preliminary learning to their jazz listening later in the semester, though their instructor never realized this. In other words, it must be continuously integrated. Allow students a few weeks to listen to the Demo CD, study Chapter 2 (How to Listen) and the “Elements of Music” appendix. Then quiz your students by cueing up the Demo CD to selected examples and playing the sounds without the identifying narration. This strategy should prove useful for evaluating students' recognition of such sounds as walking bass, comping, ride rhythms, tenor sax, Harmon-muted trumpet, etc. To be certain that students are transferring their learning, you will also want to use outside examples of the same concepts. For instance, Scott LaFaro's work on “Solar” (Jazz Classics CD2) illustrates non-repetitive accompaniment style and bass soloing. The Miles Davis Kind of Blue album would be handy for its back-to-back examples of alto sax (Cannonball Adderley), tenor sax (John Coltrane), and Harmon-muted trumpet. The “Flamenco Sketches” track from this album is on the Jazz Classics CD2 for Jazz Styles. Its “Blue in Green” track is on the Jazz Classics CD2 for Concise Guide to Jazz. You are wasting your time on all this prerequisite building if you don’t check whether your students are transferring such learning to appreciation of what is actually occurring in the jazz classics. Numerous examples of basic jazz sounds are provided on SCCJ and the Jazz Classics CDs for Jazz Styles and Concise Guide to Jazz. To quiz your students on the clarinet sound, after having it introduced by the Demo CD, you could use SCCJ's “Body and Soul” by The Benny Goodman Trio or Prentice Hall Jazz Collection’s “Seven Come Eleven.” Or use the Jazz Classics CD2 for Jazz Styles for Buddy DeFranco's solo on “No Figs,” then either Jimmy Strong's solo on “West End Blues” or Barney Bigard's solo on “Harlem Airshaft” from Jazz Classics CD1 for Concise Guide to Jazz. After playing the plunger-muted growl examples on the Demo CD, you could use Duke Ellington's “East 46

St. Louis Toodle-Oo” for Bubber Miley and Ellington's “Ko-Ko” for Tricky Sam Nanton. After introducing walking bass on the Demo CD, tell your students that another example is provided by the tenor sax-bass duo of Don Byas and Slam Stewart on “I Got Rhythm.” (That selection also illustrates tenor saxophone tone and 32-bar A-A-B-A song form.) Double-timing is illustrated by Coleman Hawkins on his “Body and Soul” (available on SCCJ and the Jazz Classics CD1 for Concise Guide to Jazz). Double-timing is also illustrated on SCCJ by Charlie Parker on “Embraceable You.” Stride-style piano playing can be heard on James P. Johnson's “Carolina Shout” on SCCJ (and on “You've Got to Be Modernistic” on the Jazz Classics CD1 for Jazz Styles and Art Tatum's “Tiger Rag” on the Jazz Classics CD1 for Concise Guide to Jazz). Sonny Rollins' “Blue Seven” on SCCJ has prominent piano comping. It is very important for novice listeners to learn that tone qualities differ widely on the same instrument, from player to player. A wide assortment of samples facilitates this learning. Ornette Coleman's “Lonely Woman” on SCCJ has alto saxophone. Other alto saxophone tones are available on the Jazz Classics CD2 for Jazz Styles by Jackie McLean on “Cranky Spanky,” by Lee Konitz on “My Lady," Jazz Classics CD1 by Johnny Hodges on “Prelude to a Kiss” and then Konitz again on Jazz Classics CD2’s track 2 for “No Figs.” Alto sax tone can be heard on the Jazz Classics CD1 for Concise Guide to Jazz by Johnny Hodges on “I’ve Got It Bad" (track10), by Charlie Parker on “Parker’s Mood” (track 15), by Lee Konitz on “Improvisation” (track 21), and by Cannonball Adderley on “Two Bass Hit” (track 23). After requiring students to attain familiarity with drumming techniques on the Demo CD, you could play excerpts from “Cranky Spanky” on Jazz Classics CD2 for Jazz Styles or “The Egyptian” on Jazz Classics CD2 for Concise Guide to Jazz, and ask them to identify the parts. Walking bass and piano comping are also audible on those two pieces. Keep in mind that the value of the Demo CD is to alert listeners to the sounds that they will find in other jazz performances. So you might first introduce the concepts in class and in listening assignments homework with the CDs, then require students to unearth examples on other recordings you are likely to use for quiz material. To quiz your students in their ability to recognize variations in tone quality produced by the tenor saxophone, it would be useful first to urge students to become familiar with all the saxophone examples on the Demo CD. Expand this exercise by having students get Jazz Classics CD1 for Concise Guide to Jazz and listening to "It Never Entered My Mind" by Stan Getz and "Body and Soul" by Coleman Hawkins, thereby illustrating two distinctly different tenor tones. Students might also buy the Jazz Classics Compact Discs for Jazz Styles and compare the tones of Ben Webster on “Cottontail,” Lester Young on “Taxi War Dance,” John Coltrane on “Flamenco Sketches,” Wayne Shorter on “Masqualero,” Stan Getz on “No Figs” and “Four Brothers” and Bennie Maupin on “Chameleon." On SCCJ, students can even compare different tenor saxophone tone qualities within the same piece because Herschel Evans takes the first tenor solo, and Lester Young takes the second on Basie's “Doggin' Around.” After sufficient exposure to a wide variety of sax styles, a quiz on instrument sounds would help you assess student progress.

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For extending the Demo CD’s presentation of the 32-bar A-A-B-A song form, a list of 32-bar A-A-B-A pieces appears in the Elements of Music Appendix on page 276. For additional examples of comping and walking bass, try Jamey Aebersold's albums of pre-recorded accompaniments. With these, you can illustrate accompaniment sounds without the solo part. Stereo separation on the Aebersold recordings allows you to isolate walking bass because it is on a channel by itself. These recordings are also excellent for illustrating 32-bar A-A-B-A and 12-bar blues forms. (A New Approach to Jazz Improvising. Vol. 6, Charlie Parker - "All Bird" has good examples of each.) If neither you nor the jazz band director at your school has any of the Aebersold recordings, contact: Jamey Aebersold, P.O. Box 1244-D, New Albany, IN 47151-1244, phone: 800-456-1388, or FAX: 812-949-2006 or email jazzbooks.com. If it is not already obvious, using multiple choice-formatted quizzes and exams of factual information (on, for instance, who played with whom and when) should be only a last resort in a music appreciation course such as Jazz History or Introduction to Jazz. Multiple choice exams, including the items available for this textbook itself, are justifiable only for huge classes where the instructor has no assistants and/or when instructors are saddled with such ungainly teaching and performance loads that they are unable to devote sufficient time to inventing their own listening exams of sounds and forms that they personally expect their students to recognize. (In 23 semesters of teaching jazz history I never gave a multiple-choice exam. I began writing test items for users of my books only to ease their jobs.) Moreover, multiple-choice exams never tap a student’s budding abilities to follow an improvised line as it unfolds. Better ways exist, such as graphing its contours. Requiring students to sing back phrases of the improvisation is a more effective teaching technique than asking students to remember names and dates. For instance, this is easy with “Parker’s Mood” on Concise Guide to Jazz Classics CD1. Just play one phrase at a time for your students to sing back. Keep hitting the “Pause” switch until your students can repeat each phrase in the first chorus. In other words, you play a phrase. Then students sing it back to you. Then you play the next phrase, and students sing that back to you. Little by little, students come to appreciate how melodic the improvisation is. More importantly, they become adept at listening note for note. Though sad to accept, remember that students are unlikely to acquire the ability to follow an improvised line if they know they can pass your course merely by memorizing names, dates, and styles, then matching those names for eras and style categories. Many listeners, including a number of eminent jazz journalists, still cannot distinguish a wellformed improvisation from a string of off-handed flourishes and posturings. This reminds us that it may be our responsibility to help students acquire critical listening ability. Otherwise they may never understand why the greats are great. Uses for the Demonstration CD The Demonstration CD has at least four uses: 1.

a source for reinforcing the learning that stems from in-class demonstrations; (Some students really need this reiteration.) 48

2.

a means for your students to perform independent, self-directed learning;

3.

a source of quiz and exam items concerned with identifying instrument sounds and song forms;

4.

a substitute for demonstrations by live musicians, if you are completely unable to gather instruments and musicians to bring to class. Note: If you do not have access to musicians and a sufficient variety of instruments, you might bring the Demonstration CD to class every time you begin discussing a song form that is illustrated by the CD, and every time you begin discussing a given musician whose instrument is illustrated by the CD (trumpet, trombone, alto sax, tenor sax, soprano sax, clarinet, drums, bass, etc.). In other words, identify a particular instrument sound in isolation from the Demonstration CD before playing an historic recording in which that sound is important in context, such as the clarinet before playing a recording by Benny Goodman, the ride cymbal before playing a Miles Davis record with drummer Tony Williams, or the pizzicato bass before playing a Bill Evans recording that contains a Scott LaFaro solo.

The Demonstration CD is helpful for ensuring that your students have materials of their own to study, long after the last sounds in the classroom have faded from their ears. If you routinely list CD contents in your syllabus, students will know what passages to study prior to a given lecture. Key the CD listings to the textbook page assignments in your syllabus. For example, before you deliver your John Coltrane lecture, require your students to listen to the saxophone examples (tracks 70 and 73) so they can learn to distinguish soprano from tenor sax. Before discussing Earl Hines, require students to listen to piano techniques (tracks 38-42) so they can identify tremolo, stride and octaves. Note: (a) If such details are already in your syllabus, you no longer need to devote precious class time to putting them on the board or talking about them. And you won't have to worry about whether you will have time to present it all fresh during lecture. (b) If they know they are going to be quizzed on them, students will show up for class, having already studied the appropriate sounds. The Demonstration CD should help provide what your situation does not provide, but it is not intended to substitute for demonstrations by local musicians. Live demonstrations are usually the high points of the semester for your students. And if you are a performer yourself, frequently play for your students. It increases your credibility with them, and it makes your teaching more specific because you can create sounds instantaneously to illustrate points in your lectures.

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HOW TO USE THE JAZZ CLASSICS CDs and LISTENING GUIDES The listening guides were initially written for students to use independently while listening to the historic recordings that accompanied their textbook. However, instructors were soon found to be going through them in class when they first played the recordings. So the listening guides can actually benefit classroom exercises, too. But the ultimate goal of a listening skills approach to jazz history is independent listening that focuses on noticing the various layers of activity in each selection and recognizing the instruments. It also aims at developing the capacity to follow an improvised line and seek nuggets of melody embedded in it. Some instructors go through a few listening guides during class presentations early in the semester to help students learn how to recognize song forms and to stop frequently to apprehend highlights. Then they require students to perform independent study with the remaining selections, assisted by the cues available in the listening guides and the explanations of basic methods that fill the Demo CD. The final component of this teaching strategy involves weekly listening quizzes that help motivate students to complete “scavenger hunts” in their listening homework. Teachers and students both benefit from frequently using the pause switch on their CD players. For newcomers to jazz it is not advisable initially to listen to a new jazz recording all the way through, especially before they know what distinctive features they are seeking. Novice listeners tend to be overwhelmed when they don’t know what to expect, especially when so much new material goes by so fast. Remember that jazz is essentially a “foreign language” to most listeners. The jazz history instructor must teach students a few key “words” in that “language” before they will notice much when a recording is playing. To maximize effectiveness of this feature, select a different aspect to seek upon each repeated playing of a given passage. Some of these aspects can be drawn from the Demo CD. Some can come from pointers in the listening guide’s introductory remarks or from the blow-by-blow narrative attached to the listening guide’s timings. Only after a selection has been thoroughly dissected and appreciated for its individual parts will an uninterrupted play be warranted. The above strategy hinges on realizing that the “sink or swim” philosophy only works for the more sophisticated listeners. (Have mercy on the uninitiated!) Another flaw in the “immersion” method of introducing jazz is that it can accidentally convey the message that it is acceptable to rush through an initial listening and not notice much. This merely perpetuates the common tendency of today’s listeners who are so inundated with sounds that almost all music is treated as background music. It could accidentally reinforce the passive stance that characterizes many listeners before they enroll in a music appreciation course such as jazz history. Remember that the listening skills approach to jazz history emphasizes active listening, not passive immersion.

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INTRODUCTION TO SAMPLE SYLLABI Organization of Lecture Topics and Study Assignments; Rationale for Using a Syllabus; Tips for Syllabus Design The following outlines are suggested ways of apportioning topics, readings, and listening examples across one-semester and one-quarter courses in Jazz History (Evolution of Jazz) and Introduction to Jazz (Jazz Appreciation). Your schedule will not perfectly match any of them, but a usable format might be gleaned from parts of them. After a little cutting and pasting, one of these schedules could save you some time in organizing your course. The longer you teach the course, the more variations you will invent. Why Provide Detailed Course Syllabi? Many instructors do not provide detailed course syllabi. They announce assignments and exam times only during classes. That approach is troublesome, however, because (a) such notifications are often missed because even the most conscientious students must occasionally be away from class, and many students are frequently absent. (b) Students appreciate knowing assignments far in advance, rather than having to pester you for updates whenever they miss class. (Returning phone calls can eat up much of your time and sap your energy.) (c) If you don’t have every assignment already in the syllabus when you begin the course, you have to devote precious class time writing them on the board or emailing them to students on Blackboard and waiting for students to copy them into their notebooks. Several benefits come with comprehensive syllabi. (a) Students appreciate being able to plan their assignments and apportion their time appropriately. (b) If it is necessary to send a substitute teacher to class, a detailed syllabus will ease the transition. (c) If a you are ill or on tour and want students to proceed without you, a comprehensive syllabus can help. (d) Some school administrations require detailed accounts of course organization to monitor teaching, fulfill requirements of accrediting agencies, and use for proposing curricular changes. (e) Administrators need syllabi to help them handle disputes that arise between students and teachers. (Precedents in this regard have established that assignments and grading schemes in course syllabi constitute legal documents!) If you are not careful in designing and distributing course syllabi, disputes can get painfully awkward. Haste in syllabus preparation can come back to haunt you. Adapting Sample Syllabi for Your Own Course Sample lecture schedules with suggested study assignments are offered next. These outlines can be modified and combined with adapted versions of the sample course requirements, grading schemes, and learning goals that were offered previously. In considering these for your own course, several cautions are relevant. (1) These sample syllabi are not to be used in exactly the same form in which they appear here. (2) Like any textbook, the Concise Guide to Jazz is merely a resource, not a rigid course syllabus itself. (3) Veteran instructors have learned to enter textbook page numbers only 51

for those musician names that they are holding students responsible. (Surveys show that students don’t appreciate being required to learn about musicians whose work they are never going to hear.) This means that, for instance, if you are not playing examples of Gerry Mulligan, Stan Kenton or Dave Brubeck, it is not fair to make the entire Cool Jazz chapter a reading assignment. Similarly, if you don’t play Fats Waller or James P. Johnson for your students, it is not fair to make students read the Early Jazz chapter’s passages devoted to those pianists. (Just require the page numbers for passages on Louis Armstrong and Bix Beiderbecke, for instance.) The names and coverage of Johnson and Waller will not be meaningful without the sounds those musicians produced. Consider also that acid jazz is presented in chapter 11 because it was among the few new styles to emerge during the 1980s and because, during the 1990s, many people did include such sounds in the “jazz” category. But if you don’t have any examples of acid jazz to play for your students, it is not fair to make them study the corresponding text pages. You could, however, have students elect such topics for independent study or special projects to present to their classmates. For them, the text coverage can provide a good start. Even if you plan to incorporate the bulk of one of the syllabi sampled in this manual, your own schedule and instructional goals will necessitate adjustments. For instance, some instructors do not give quizzes. Some give quizzes, but not for grades. Some instructors give only quizzes, no exams. Some frequently show videos and/or have live bands during class time. This sometimes occurs in addition to listening homework, sometimes without listening homework. Some have found that students learn the most when they work on their own and devise presentations on particular topics. In such courses, a substantial portion of class time is devoted to student presentations, not lecture. When adapting any of the syllabi below for your own course, keep in mind that college schedules vary. The routine is often interrupted with exam days, "reading" days, "free" days, field trips, religious holidays, and legal holidays. Semesters don't always include 15 full weeks, and quarters don't always include 10 full weeks. A Monday-Wednesday-Friday course does not always have every Monday, Wednesday, and Friday available to it, and a Tuesday-Thursday class does not always have every Tuesday and Thursday. Many semesters don't begin on a Monday or end on a Friday. Some colleges allow exams to be given during class periods, whereas others require that exams occur only on exam days. Some instructors use a considerable number of class meetings for administering exams and going over the results, and this eats into the total number of topics they cover. Other instructors give only a midterm and a final, and some require only a final and/or a term paper. Some instructors use class time for review sessions, others use it solely for presentation of new material. Note: Students are more likely to skip class on Fridays than on Mondays or Wednesdays. Therefore, if quizzes and exams are scheduled on Fridays, more students will attend more classes than if quizzes and exams occur on Mondays or Wednesdays. Note that the syllabi offered below for "Tuesday-Thursday" schedules can be equally appropriate for any course that meets just twice per week, not just on Tuesdays and Thursdays. For example, some colleges offer the course on a Monday-Wednesday schedule, for which the syllabi designated "Tuesday-Thursday" are appropriate 52

allocations of topics and assignments. Similarly, with some creative juggling, eight-week course syllabi also can be adapted from the 10-week syllabi below. The Value of Quizzes. A tip from veteran teachers: Instructors who stress development of listening skills tend to include listening items on their exams. In such items, they play an excerpt of a recording that students have studied. Then they ask students to identify its form, instrumentation, era, or soloists. Some instructors give a brief quiz every time class meets. Otherwise most students do not keep up with assignments. They usually study only near exam time. So instructors who want students to be prepared for classes tend to give frequent quizzes. Though students whine in such classes, they also concede that quizzes tend to motivate them to do the required reading and listening assignments, no matter how much such scores count toward their total course grade. “Optional” versus “Required.” Keep in mind that if you tell your students that the textbook is "optional" ("not required"), even though you may also say that it is "highly recommended," they will tend neither to buy it nor read it. "Highly recommended" translates to "optional" which, in turn, translates to "don't bother." If you tell your students that the book is required, they might buy it. But unless they know they will be tested on its contents, many of your students will not read it. “Reading” versus “Learning.” Additionally, it is significant to note that "reading" is different from "studying." Students might read the assigned pages, but not learn them unless your syllabus clearly states that "students should come to class prepared to explain, orally or in writing, the contents of" a particular page. It is best to assign only what you realistically expect students to learn. Merely saying, “Read the book” is not sufficient. About the CDs Cited in the Sample Syllabi The textbook reading assignments in each of these outlines is organized around the Concise Guide to Jazz book, its Demo CD, its Jazz Classics CDs, the Prentice Hall Jazz Classics CD, the Jazz Classics CDs 1, 2 and 3 (JCC1, JCC2, JSCC3) for the Jazz Styles, 11th Edition textbook. The syllabi also recommend supplements via items on The Smithsonian Collection of Classic Jazz (SCCJ) and other sources. (Complete contents for the Demo CD and the Jazz Classics CDs 1 & 2 are listed after the following sample syllabi.) As an instructor, you should own the CDs that come with the Jazz Styles textbook, even if your students own only the CDs that come with their Concise Guide to Jazz textbook. If you have fewer than 30 students, you could grant your students access to your spare copy (or copies) of the Jazz Styles 3CD compilation and the SCCJ placed on reserve in your school library or the music library. Items from those compilations appear in the following syllabi mostly to give you ideas for your class presentations, not for the students who do not own them. On the other hand, items drawn from the Jazz Classics CD set for Concise Guide to Jazz are included in the syllabi to indicate required student homework. Note: The original Smithsonian Collection and the revised edition of 53

the collection (SCCJ-R) are out of print and not scheduled to be re-licensed. A new Smithsonian anthology is available, but it contains only a few items from the SCCJ. Both the Demo CD and the Jazz Classics 2CD set are available in specially discounted “Value Pack” versions of the Concise Guide to Jazz textbook that bookstores can order for your students (book with Classics CDs = ISBN 0-205-94085-4 or 0205678416; book with Demo CD + Classics CDs = ISBN 0-205-94085-4 or 0205678424; book + Demo CD = ISBN 0-205-95901-6 or 0-205-72636-4). Note: The ISBN’s are essential for bookstores to identify exactly which individual items or combination packages you seek. Bookstores can order copies of the CDs ala carte for students if instructors specify the Jazz Classics Compact Discs for Jazz Styles (ISBN 978-0-205-03686-8), Jazz Classics Compact Discs for Concise Guide to Jazz (ISBN 0-205-93738-7) and the Demo CD (ISBN 978-0-13-601098-2). Bookstores can be instructed to keep a supply on hand to sell individually if instructors feel that the purchase price of the value packages is unreasonable yet they still wish to give students the option of owning the CDs. That music comprises the bare minimum for an introduction to jazz. The main supplements derive from The Smithsonian Collection of Classic Jazz and the Jazz Classics CDs that accompany the Jazz Styles, 11th Edition textbook (Pearson). The compact discs are available free from Pearson to instructors who require their students to buy the Concise Guide to Jazz textbook. But they don’t come automatically. Instructors must request “desk copies” through local Pearson field representatives, the toll-free request line (800-526-0485), email from [email protected] or by writing College Humanities Marketing, 1 Lake Street, Prentice-Hall, Inc., Upper Saddle River, NJ 07458. Have a Heart! Simplify Your Study Assignments For the sake of brevity and flexibility in presenting sample syllabi in this manual, the reading assignments are sometimes listed only in terms of chapter numbers, not page numbers for passages on particular musicians. Yet it is not advisable to assign entire chapters of the textbook to novice listeners in a single-semester jazz appreciation or jazz history course. There is not enough time to do all the contents justice. Students will be less inclined to see the forest for the trees if entire chapters are assigned. Furthermore, most students will not have the majority of recordings that are necessary to make all the text passages in any given chapter meaningful. It is better to specify only the pages that cover the musicians you plan to play and discuss in class. Forget the rest. For example, instead of posting "Read Chapter 4 for Monday," veteran teachers tend to post something like (1) "Read pages 45-49 (Louis Armstrong) for Monday. (2) Come to class prepared to list at least five reasons Louis Armstrong is historically significant. (3) Listen to the ‘West End Blues’ recording, and (4) note what you like and dislike about it." Though reading assignments might interest some students, listening assignments are the most important part of the course. For this reason, a note should be attached to 54

each syllabus saying something to the effect of “Focused listening is the key element in this course. Listening assignments are posted in the course syllabus. Always study the textbook’s corresponding listening guide for each piece before hearing the music that is assigned. This will put the music in historical perspective, tell why it is musically worthy, indicate highlights to anticipate, and suggest strategies for making sense out of arrangements that are particularly complicated. Page numbers for the listening guides appear on the inside front cover of your textbook.” Tally Your Own Personal Priorities When You Design Your Course The following outlines are organized according to what surveys have shown to be the most common approaches for allocating topics across 10-week quarters and 15-week semesters, with classes meeting either three times per week, presented here as Monday-Wednesday-Friday, or meeting only two times per week, presented here as Tuesday-Thursday. Chapter 11 is not included in the sample syllabi because it was written only as an optional reference source for teachers who wish to touch recent developments. Instructors who emphasize topics in chapter 11 might find that they need to skip earlier chapters in order to snug this in. So, no matter what you do, be cautious about overloading your students. Every teacher needs to tally his/her own priorities when allocating such treatments. Incidentally, instructors tend to cover more topics when the same amount of class time is divided into three class meetings per week than two times a week. This might stem from their tendency to go into more depth (or off on more tangents) when they have a long class period. Some of these differences have been taken into account in the number of musicians and styles allocated across semesters in the sample syllabi. Also keep in mind that instructors differ widely in how much attention they devote to different topics, regardless of their class schedule. For example, many instructors spend several weeks on the elements of music and the roles of instruments in the jazz band. Others dispense with elements and "how to listen"; they jump directly into a historical survey of the jazz styles. Some instructors don't cover the origins of jazz. Some don't cover jazz-rock fusion. Many devote only brief time to free jazz and the avant-garde of the 1960s and 1970s. Some skip hard bop or cool jazz. Others consider cool jazz to be pivotal. Some professors allocate most of their time to a single figure in each era. Others survey numerous musicians in each era. A brief course could be taught with just the Demo CD and the two Jazz Classics CDs if all students bought the 3CD format of the textbook (ISBN 0-205-94086-2) and the instructor requested the free Prentice Hall Jazz Collection CD (ISBN 0-205-17896-4) for all of his students. However, without his/her own personal collection of historic recordings or a good basic collection in the music library, an instructor would still be missing some breadth of coverage. An ideal start to remedying that could be achieved by acquiring items from the chapter-end lists of recordings. But without that advantage, it is convenient, but not absolutely necessary, also to have the Smithsonian Collection of Classic Jazz (SCCJ) and the Ken Burns JAZZ set of CDs available for lectures, though at most schools it is apparently a luxury for students to have personal access to either.

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Cautions Regarding the Judgment of Ken Burns and Martin Williams Do not confuse the excellent set of audio recordings compiled to accompany the Burns project with the 19-hour video production. The television show, now available in a boxed set of videos, is devoted as much to a history of the twentieth century, sensationalized coverage of race relations, and gossip about musicians’ personal lives as it is devoted to the music itself. As valuable as the Smithsonian Collection of Classic Jazz (SCCJ) is to instructors lacking large personal collections, critical opinion remains divergent about SCCJ’s historical value and stylistic balance. Some instructors consider the SCCJ contents to be "the meat and potatoes" of historic examples. Yet many historians and critics question the taste and judgment of its compiler Martin Williams, and don't necessarily consider all his choices to be "classic." Whereas some treat it as a canon of jazz history, others consider SCCJ highly skewed in its allocations of selections. (For instance, because it omits the Original Dixieland Jazz Band, Chick Corea, Keith Jarrett, the mid-1960s Miles Davis Quintet, and Weather Report; both the Jazz Classics CDs for Jazz Styles and the Jazz Classics CDs for Concise Guide to Jazz contain representative selections by those pivotal figures.) A number of instructors do not use the SCCJ at all. Others require all their students to attain intimate familiarity with its every selection. Regarding Compilations of Historic Recordings The CGC designation in the following syllabi refers to selections on the Jazz Classics CDs that accompany the Concise Guide to Jazz. The locations for their listening guides are indicated by page numbers on the inside front cover of the textbook. (If you have used earlier editions of Concise Guide to Jazz, note that most of the items in its previous Jazz Classics CD have been retained for the expanded contents of the current 2CD set.) Supplementary selections accompanied by the JCC1, JCC2, and JCC3 designations refer to Jazz Classics CD1, CD2 and CD3 for the Jazz Styles textbook. They have corresponding listening guides in the appropriate chapters of that book. (Even if your students own only Concise Guide to Jazz, you will find Jazz Styles to be handy for preparing your class presentations.) These guides could be used whenever presenting analysis of a given selection. Citations for SCCJ indicate items found on the Smithsonian Collection of Classic Jazz, long out of print and not to be confused with any new anthologies produced by Smithsonian/Folkways Recordings. SCCJ selections are mentioned here as supplemental items because SCCJ is owned by many instructors and libraries (It originally sold a million copies). Note: If you are just beginning to teach jazz history or appreciation courses, don’t panic if you don’t have SCCJ. You can manage well with the 5CDs of historic recordings that come with Jazz Styles and Concise Guide to Jazz. If your students are using the 4CD format of Concise Guide to Jazz (Prentice Hall Jazz Collection, the Jazz Classics 2CD set and the Demo CD), they have access to all but the SCCJ designations in the following syllabi. If your students are using the 3CD format 56

of Concise Guide to Jazz (book, Demo CD and 2CD Jazz Classics set), they will have personal access only to items in designated CGC (Concise Guide, Jazz Classics CD). So you could put other CDs on reserve in your music library or listening lab to make available any important selections your students do not own. And/or you could post streaming items that you know to be available on the internet. NOTE: The Prentice Hall Jazz Collection CD (PHJC) comes free for every student whose instructor requests it. However, the correct ISBN for its package must be in the order that goes to the bookstore: 0-205-94140-0 or 0-205-94086-2. The combination of the 2CD Jazz Classics set for Concise Guide to Jazz and the PHJC affords your students 48 historic recordings. Listening guides for the selections on the PHJC are available at www.pearsonhighered.com/Gridley. Click on Concise Guide to Jazz, then on “Supplements,” then on Listening Guides for Prentice Hall Jazz Collection. In considering how to assure your students the largest and most representative sampling of styles, take care to not additionally order the Jazz Classics 3CD set for Jazz Styles to be packaged with your students’ Concise Guide to Jazz textbook if you order the free PHJC because you would end up with several duplications (Wolverine Blues, Seven Come Eleven, Birdland, Blue Rondo ala Turk, Civilization Day), in addition to the pieces that the basic Jazz Classics CD sets for Concise Guide to Jazz and Jazz Styles anthologies already have in common: Taxi War Dance, Dixie Jazz Band One-Step, West End Blues, Harlem Airshaft, and Solar. Though you may draw from all these collections for your lectures, keep in mind that it is unrealistic to expect students to prepare for listening exams based on what they can hear only in class. Most students need repeated listening to prepare for listening exams, and such repetition comes from items they own. Moreover, they might not listen to what they own, even if your course lists it as "required," unless your syllabus tells them that recognition of those item will be necessary to pass quizzes and exams. Savvy instructors post dates in their syllabi telling students exactly when familiarity for each selection will be required. The syllabi below are classified according to several different orientations that have been found common among instructors, and they are then organized around 10week college quarters and 15-week college semesters. One orientation takes account of instructors preferring straight history and who spend very little time easing students into familiarity with instrument sounds, song forms, and listening strategies. Some of these instructors teach courses that primarily enroll musicians, and so these instructors feel that they need not address such basics as the I-IV-I-V-I chord progression or the sounds of the high-hat or walking bass, for instance. Note, however, that a number of instructors in such courses have reported that many musician students remain unfamiliar with these elements. So it may be best to have the Demo CD and the Elements of Music Appendix listed in their syllabi as optional background study. Other instructors emphasize listening skills more than exploring numerous styles and how each one developed. For that reason, some of the following syllabi are constructed with much more time devoted to

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developing listening skills and less time devoted to major figures. These courses are titled "Introduction to Jazz," instead of "Straight History."

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15-WEEK "STRAIGHT HISTORY" OF JAZZ (no introductory emphasis on elements of music or how to listen) Monday-Wednesday-Friday schedule; three exams Week 1 Monday:

What is Jazz?

Wednesday:

Origins of Jazz Read Chapters 1 and 2 Listen for blue notes (Demo CD tracks 50-58). Listen to the first 7 selections on JCC1.

Friday:

Origins of Jazz Read Chapter 3. Same reading and listening as Wednesday Supplement: "Maple Leaf Rag" on SCCJ

The 1920s Week 2 Monday:

ODJB and Jelly Roll Morton Read Chapter 4. Listen to "Dixie Jazz Band One-Step" on CGC and “Wolverine Blues” on JCC1 and PHJC. Supplement: "Black Bottom Stomp" on SCCJ

Wednesday:

James P. Johnson and Joe Oliver Read Chapter 4. Listen to "Alligator Hop" on CGC and "You've Got to Be Modernistic" on JCC1. Supplement: "Carolina Shout," "Dippermouth Blues" on SCCJ

Friday:

Louis Armstrong and Bix Beiderbecke Read pages 45-53. Listen to "West End Blues" and “Riverboat Shuffle” on CGC, "Singin’ the Blues” and "Hotter Than That" on JCC1. Supplement: "Weather Bird," "Potato Head Blues," and "Struttin' with Some Barbecue" on SCCJ

The 1930s Week 3 Monday:

Duke Ellington Read pages 74-80. Listen to "Harlem Airshaft" on CGC and "Cottontail" on JCC1. Supplement: "Concerto for Cootie" and "In a Mellotone" on SCCJ Note: Though these pieces were recorded in 1940, they represent the culmination of Ellington's work in the 1930s. 59

Wednesday:

Duke Ellington Read pages 74-80. Listen to "I've Got It Bad" on CGC, "Transblucency" and "Prelude to a Kiss" on JCC1. Note: These pieces were written in the 1930s, but the JCC1 versions were recorded later.

Friday:

Count Basie and Lester Young Read pages 67-74. Listen to Young’s solos on “Back in Your Own Backyard” and "Taxi War Dance" on CGC. Supplement: “Lester Leaps In” JCCD1

Week 4 Monday:

Wednesday:

The 1940s Friday:

Week 5 Monday:

Wednesday:

Coleman Hawkins, Roy Eldridge, and Art Tatum Read pages 62-67, 88-91. Listen to "Tiger Rag," "Sittin' In," and “Body and Soul” on CGC and "After You’ve Gone,” "Voodte," and "How Deep Is The Ocean" on JCC1. Supplement: "Rockin' Chair," "Willow Weep for Me," "Too Marvelous for Words," and "I Can't Believe That You're in Love with Me" on SCCJ. Benny Goodman Read Chapter 5. Listen to “Seven Come Eleven” on JCC1 and PHJC. Listen to Benny Goodman Trio's "Body and Soul," "I Found a New Baby," and "Breakfast Feud" on SCCJ.

Charlie Parker and Dizzy Gillespie Read Chapter 6. Listen to Demo CD Tracks 1-8 for bop drumming. Listen to “Leap Frog” and “Parker’s Mood” on CGC, “Groovin’ High” on PHJC, "Things to Come," "Just Friends," and "Shaw Nuff" on JCC1. Supplement: Parker and Gillespie selections on SCCJ

Thelonious Monk and Bud Powell Read pages 108-113. Listen to “Misterioso” on JCC1, “Round Midnight” on PHJC, and Powell’s “Get Happy” on CGC. Listen to Monk and Powell selections on SCCJ. Dexter Gordon and Miles Davis Read Chapter 6. 60

Listen to “Index” on CGC. Supplement: "Bikini," "Boplicity," "Klactoveesedstene," and "Crazeology" on SCCJ. Friday: The 1950s Week 6 Monday:

FIRST EXAM

Lennie Tristano, Lee Konitz and Stan Kenton Read Chapter 7. Listen to “Subconscious-Lee” and “Improvisation” on CGC, “My Lady” on JCC1, and "No Figs" on JCC2. Supplement: "Boplicity" and Tristano selections on SCCJ

Wednesday:

Stan Getz Read pages 114-117. Listen to “It Never Entered My Mind” on CGC, "Four Brothers" on PHJC, "No Figs" on JCC2.

Friday:

Gerry Mulligan and Dave Brubeck Read Chapter 7. Listen to “Blue Rondo ala Turk” on PHJC and JCC2. Listen to "Boplicity" on SCCJ and albums cited in endnotes of Chapter 7.

Week 7 Monday:

Clifford Brown and Sonny Rollins Read Chapter 8. Listen to J. J. Johnson's "Get Happy" on CGC and “Kiss and Run” on JCC2. Supplement: "Pent-Up House" and "Blue Seven" on SCCJ

Wednesday:

Horace Silver, Art Blakey, and Cannonball Adderley Read Chapter 8. Listen to “Gregory Is Here,” “The Egyptian,” “Two Bass Hit” on CGC, “Cranky Spanky” on JCC2, and Adderley's solos on "Flamenco Sketches" on JCC2. Supplement: "So What" on SCCJ, Silver and Adderley albums cited in endnotes of Chapter 8.

Friday:

Miles Davis in the 1950s Read pages 145-151. Listen to "Blue in Green" on CGC, "Flamenco Sketches" on JCC2 and "Fisherman, Strawberry, Devil Crab" on JCC1. Supplement: "Summertime" and "So What" on SCCJ

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The 1960s Week 8 Monday:

John Coltrane Read pages 160-161, 175-180. Listen to "Your Lady," "Blue in Green" on CGC, "Flamenco Sketches" and "Afro-Blue" on JCC2. Supplement: "So What" and "Alabama" on SCCJ

Wednesday:

Ornette Coleman Read Chapter 9. Listen to “Dee-Dee” on CGC and “Civilization Day” on PHJC, and JCC2. Supplement: "Congeniality" and "Free Jazz (excerpt)" on SCCJ.

Friday:

Cecil Taylor and Albert Ayler Read Chapter 9. Listen to “Jitney#2” on CGC. Listen to “Ghosts: First Variation” on JCC3. Supplement: "Enter Evening" on SCCJ

Week 9 Monday:

Wednesday:

Friday: Week 10 Monday:

Wayne Shorter and Freddie Hubbard Read pages 235-237, 189-191 and 156-157. Listen to “Prince of Darkness” and “Egyptian” on CGC, "Masqualero,” and “Maiden Voyage” on JCC2. Supplement: Shorter and Hubbard albums on Blue Note cited in endnotes of Chapter 8 and 11, Miles Davis in the 1960s Read pages 181, 188-191. Listen to "Prince of Darkness" on CGC and "Masqualero" on JCC2. SECOND EXAM

Bill Evans Read pages 176, 180-187. Listen to "Blue in Green" and "Solar" on CGC, "Flamenco Sketches" on JCC2. Supplement: "So What" on SCCJ

Wednesday:

Bossa Nova Supplement: 1960s recordings by Stan Getz with Joao Gilberto and Antonio Carlos Jobim

Friday:

Wes Montgomery Read pages 162-164. 62

Listen to "Mr. Walker" on CGC. Listen to "West Coast Blues" on SCCJ-R. Week 11 Monday:

The 1970s Wednesday:

Comparing Coltrane's Chord Progression-Based Improvisation with his "Free" Improvisation. Read pages 146 and 160-161, 175-180. Listen to "Two Bass Hit" and then his Interstellar Space album.

ECM Read 208-210, 229-234. Listen to “Wind-Up” on CGC, and "Sundial: Part 1" on JCC3. Supplement: assorted ECM records of the 1970s by Gary Burton, Pat Metheny, Jan Garbarek, Keith Jarrett, and Chick Corea

Friday:

Week 12 Monday:

Herbie Hancock Read 207-208, 188, and 191. Listen to “Prince of Darkness” on CGC, "Masqualero” and “Maiden Voyage,” on JCC2, and “Chameleon” on JCC3. Supplement: Miles Davis and Herbie Hancock albums cited in endnotes of Chapters 8 and 10.

Chick Corea Read pages 208-210 and 212-213. Listen to “Spanish Key” on CGC and "Steps" on JCC3. Supplement: ECM albums by Corea cited in endnotes of Chapter 10

Wednesday:

Chicago Avant-Garde of the 1960s and 70s Supplement: albums by Sun Ra, Anthony Braxton, Art Ensemble of Chicago

Friday:

Keith Jarrett Read pages 229-234 and 229-234. Listen to “Wind-Up” on CGC and "Sundial, Part 1" on JCC3. Supplement: Atlantic, Impulse and ECM recordings cited in endnotes of Chapter 11

Week 13 Monday:

Miles Davis Fusion Read pages 199-201. Listen to “Spanish Key” on CGC. Supplement: assorted post-1968 recordings cited in chapter endnotes 63

Wednesday:

Weather Report Read pages 202-207. Listen to "Birdland" on CGC and "Surucucù" on JCC3.

Friday:

John McLaughlin Read pages 201-202. Supplement: assorted recordings cited in chapter endnotes

The 1980s and 1990s Week 14 Monday: Hard Bop Revival Read pages 251-254. Supplement: recordings of 1980s and 1990s by the Marsalis brothers, Harper Brothers, Roy Hargrove, Out of the Blue, Eric Alexander, etc. Wednesday:

New Age Supplement: assorted Windham Hill and Narada recordings

Friday:

Popular Fusion and Smooth Jazz Read pages 195-199, 210-222, and 224-228. Supplement: popular recordings by Spyro Gyra, Kenny G, George Benson, Grover Washington, Jr., Earl Klugh, Bob James, Joe Sample, Dave Koz, Rick Braun, Chris Botti, etc.

Week 15

FINAL EXAM 15-WEEK "STRAIGHT HISTORY" OF JAZZ (no introductory emphasis on elements of music or how to listen) Tuesday-Thursday Schedule; Three Exams

Week 1 Tuesday: Thursday:

Week 2 Tuesday:

What is Jazz? Origins of Jazz Read Chapters 1 and 2 Listen to Demo CD for blue notes (tracks 50-58). Listen to first 7 selections on JCC1.

Origins of Jazz Read Chapter 3. Listen to "Maple Leaf Rag" on SCCJ.

The 1920s 64

Thursday:

Week 3 Tuesday:

Thursday:

Week 4 Tuesday:

The 1930s Thursday:

Week 5 Tuesday:

Thursday:

ODJB and Joe Oliver Read Chapter 3. Listen to "Dixie Jazz Band One-Step" and “Alligator Hop” on CGC. Supplement: "Dippermouth Blues" on SCCJ

James P. Johnson and Jelly Roll Morton Read Chapter 4. Listen to “Wolverine Blues” on JCC1 or PHJC, and "You've Got to be Modernistic" in JCC1. Supplement: "Black Bottom Stomp" and "Carolina Shout" on SCCJ Louis Armstrong and Sidney Bechet Read pages 48-50. Listen to "West End Blues" and "Reckless Blues" on CGC, "Hotter Than That," on JCC1. Supplement: "Weather Bird," "Potato Head Blues," "Blue Horizon," and "Cake Walkin' Babies from Home" on SCCJ.

Bix Beiderbecke and Fats Waller Read pages 49-52 and 42-43. Listen to “Riverboat Shuffle” on CGC, "Singin' the Blues" and "Handful of Keys" on JCC1. Supplement: "I Ain't Got Nobody" on SCCJ.

Duke Ellington Read pages 74-81. Listen to "Harlem Airshaft" in CGC and "Cottontail" on JCC1. Supplement: "Concerto for Cootie" and "In a Mellotone" on SCCJ Note: Though these recordings were made in 1940, they represent the culmination of Ellington's work of the 1930s.

Duke Ellington Read 86-93. Listen to "I've Got It Bad" on CGC, "Transblucency," and "Prelude to A Kiss" on JCC1. Note: Though these pieces were written in the 1930s, the JCC1 renditions were recorded later. FIRST EXAM

Week 6 65

Tuesday:

Benny Goodman, Coleman Hawkins, and Roy Eldridge Read Chapter 5. Listen to Hawkins' "Body and Soul" and Eldridge's "Sittin' In," on CGC, Goodman's “Seven Come Eleven” on PHJC and JCC1, Eldridge's “After You’ve Gone,” Hawkins' "Voodte," and "How Deep is the Ocean?" on JCC1. Supplement: "I Found a New Baby," Goodman Trio's "Body and Soul," Eldridge's "Rockin' Chair," and "I Can't Believe That You're in Love with Me" on SCCJ.

Thursday:

Count Basie, and Lester Young, Art Tatum Read Chapter 5. Listen to "Taxi War Dance," "Tiger Rag" on CGC. Listen to Lester Young's solo on "Back in Your Own Back Yard" on CGC. Supplement: Young's "Lester Leaps In," Basie's "Doggin' Around," Tatum's "Willow Weep for Me," and "Too Marvelous for Words" on SCCJ.

The 1940s Week 7 Tuesday:

Thursday:

Week 8 Tuesday:

The 1950s Thursday:

Charlie Parker and Dizzy Gillespie Read Chapter 6. Listen to Demo CD for bop drumming (tracks 1-8) and “Rhythm Changes” (track 33). Listen to “Parker’s Mood” and “Leap Frog” on CGC, “Groovin’ High” on PHJC, "Shaw Nuff," "Just Friends," and “Things to Come” on JCC1. Supplement: Parker and Gillespie selections on SCCJ. Thelonious Monk and Bud Powell Read pages 108-113. Listen to “Round Midnight” on PHJC, “Misterioso” on JCC1, Powell’s “Get Happy” on CGC. Listen to Monk and Powell selections on SCCJ.

Dexter Gordon and the Woody Herman bop bands Read pages 113-114. Listen to "Index" on CGC, "Four Brothers" on PHJC and JCC1. Supplement: "Bikini" on SCCJ

Lennie Tristano, Lee Konitz, and Stan Getz Read Chapter 7. Listen to "Subconscious-Lee," “Improvisation,” and "It Never Entered My Mind" on CGC; "No Figs" and “My Lady” on JCC2 66

Week 9 Tuesday:

Thursday:

Week 10 Tuesday:

Thursday: The 1960s Week 11 Tuesday:

Thursday:

Dave Brubeck and Gerry Mulligan Read Chapter 7. Listen to “Blue Rondo ala Turk” on PHJC and JCC2. Supplement: Brubeck and Mulligan recordings cited in endnotes of Chapter 7 Clifford Brown, Art Blakey, and Sonny Rollins Read Chapter 8. Listen to J. J. Johnson's "Get Happy" and “The Egyptian” on CGC, "Kiss and Run" and “Cranky Spanky” on JCC2, “Work Song” on PHJC Supplement: "Pent-Up House" and "Blue Seven" on SCCJ

Horace Silver, Cannonball Adderley, and Miles Davis Read Chapter 8. Listen to “Two Bass Hit,” "Blue in Green," and “Gregory Is Here” on CGC, “Senor Blues” and "Flamenco Sketches" on JCC2. Supplement: "So What" and "Summertime" on SCCJ and albums by Silver and Adderley cited in endnotes of Chapter 8 SECOND EXAM

Bill Evans and Miles Davis in the 1960s Read pages 143, 148-151, 176, and 180-187. Listen to "Solar," "Blue in Green," and "Prince of Darkness" on CGC; "Flamenco Sketches" and "Masqualero" on JCC2. Supplement: "So What" on SCCJ. Note: "Blue in Green," "Flamenco Sketches" and "So What" from the album Kind of Blue were recorded in 1959, but the impact of the Evans and Coltrane work in them is associated more with the 1960s than the 1950s. Ornette Coleman, Albert Ayler, and Cecil Taylor Read Chapter 9. Listen to “Dee Dee” on CGC, "Civilization Day" on PHJC and JCC2, “Ghosts: First Variation” on JCC2. Supplement: "Enter Evening," "Congeniality," and "Free Jazz" on SCCJ.

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Week 12 Tuesday:

Thursday:

The 1970s Week 13 Tuesday:

Thursday:

Week 14 Tuesday:

John Coltrane Read pages 160-161 and 175-180. Listen to “Two Bass Hit,” "Your Lady," "Blue in Green," and on CGC, "Flamenco Sketches" and "Afro-Blue" on JCC2. Supplement: "So What" and "Alabama" on SCCJ Herbie Hancock, Wayne Shorter, and Freddie Hubbard Read pages 235-237, 207-208, 188, 191, and 156-157. Listen to "Prince of Darkness" on CGC, "Masqualero," “Maiden Voyage” on JCC2, and "Chameleon" on JCC3. Supplement: albums cited in endnotes of Chapters 8, 10, 11

Chick Corea Read pages 208-210 and 212-213. Listen to "Steps" on JCC2 and “Spanish Key” on CGC. Supplement: assorted ECM albums cited in endnotes of Chapter 10 and 11. Keith Jarrett Read pages 229-234. Listen to “Wind-Up” on CGC, "Sundial: Part 1" on JCC3. Supplement: assorted ECM albums cited in endnotes of Chapter 11

Weather Report and John McLaughlin Read pages 201-207. Listen to "Surucucù" on JCC3 and "Birdland" on CGC. Supplement: McLaughlin Columbia albums cited in end notes of Chapter 10

The 1980s and 1990s Thursday: Smooth Jazz Read pages 210-211, 219-221, and 224-227. Supplement: assorted albums on Windham Hill and Narada, plus music by Kenny G, Earl Klugh, Grover Washington, Jr., Joe Sample, George Benson, Bob James, Rick Braun, Dave Koz, and other popular contemporary artists. Week 15

FINAL EXAM

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15-WEEK INTRODUCTION TO JAZZ (emphasizing introductory units on elements of music and how to listen) Monday-Wednesday-Friday schedule; three exams Week 1 Monday:

What is Jazz?

Wednesday:

Elements of Music (rhythm) Read pages 259-264 and Chapter 1.

Friday:

Elements of Music (chords) Read pages 264-274. Listen to Demo CD tracks 1-58.

Week 2 Monday:

Wednesday:

Elements of Music (instruments) Read pages 280-283. Listen to Demo CD tracks 59-98 Listen to J. J. Johnson's "Get Happy" and Art Blakey's "The Egyptian" on CGC to identify trumpet, tenor saxophone, and trombone. Listen to "No Figs" on JCC2, to identify clarinet, alto saxophone, tenor saxophone, baritone saxophone, trombone; "Flamenco Sketches" to identify Harmon-muted trumpet, alto saxophone and tenor saxophone. On CGC listen to “Blue in Green” for tenor saxophone and Harmon-muted trumpet and to J. J. Johnson's "Get Happy" to identify trombone, tenor sax, and trumpet. How to Listen (song forms and performance routines: blues) Read pages 272-273. Listen to Demo CD tracks 16-20 and “Reckless Blues,” "West End Blues," "Parker's Mood," and "Index" on CGC and follow their listening guides.

69

Friday:

Week 3 Monday:

How to Listen (song forms and performance routines: A-A-B-A form) Read pages 273-275. Listen to Demo CD track 33. Listen to "Taxi War Dance" and follow listening guide on pages 70-72. Listen to “Back Home in Your Own Back Yard.” Supplement: "Four Brothers" on PHJC, "Cottontail," and "Shaw Nuff" on JCC1, and follow their listening guides in the Jazz Styles textbook.

How to Listen (instrument roles; layered listening) Read Chapter 2. Listen to "Harlem Airshaft" and "Prince of Darkness" on CGC. Use layered listening approach first. Then follow listening guides on pages 78 and 188.

Wednesday:

How to Listen (graphing solo lines; detecting blues and A-A-B-A) Read Chapter 2. Listen to "West End Blues," "Index," on CGC.

Friday:

Origins of Jazz Read Chapter 3. Listen to the first 6 selections on JCC1.

Week 4 Monday:

Wednesday:

Friday: The 1920s Week 5 Monday:

Origins of Jazz Read Chapter 3. Listen to "Maple Leaf Rag" on SCCJ. Origins of Jazz Read Chapter 3 Listen to “Alligator Hop” on CGC. Supplement: "Dippermouth Blues" and "Cake Walkin' Babies from Home" on SCCJ. FIRST EXAM

ODJB and Jelly Roll Morton Read Chapter 4. Listen to "Dixie Jazz Band One-Step" on CGC, “Wolverine Blues” on PHJC and JCC1. Supplement: "Black Bottom Stomp" and "Dippermouth Blues" on SCCJ. 70

Wednesday:

Sidney Bechet and James P. Johnson Read Chapter 4. Listen to "You've Got to Be Modernistic" on JCC1. Listen to "Carolina Shout," "Blue Horizon" and "Cake Walkin' Babies from Home" in SCCJ.

Friday:

Louis Armstrong Read pages 45-49. Listen to "West End Blues" and "Reckless Blues" on CGC. Supplement: "Hotter than That" on JCC1, "Potato Head Blues," "Struttin' With Some Barbecue" on SCCJ

The 1930s Week 6 Monday:

Duke Ellington Read pages 74-81. Listen to "Harlem Airshaft" on CGC, and follow its listening guide. Supplement: "Concerto for Cootie" and "In a Mellotone" on SCCJ. Note: Though these recordings were made in 1940, they represent the culmination of Ellington's work in the 1930s

Wednesday:

Duke Ellington Read pages 74-81. Listen to "I've Got It Bad" on CGC, "Transblucency" and "Prelude to a Kiss" on JCC1.

Friday:

Coleman Hawkins, Roy Eldridge, and Art Tatum Read Chapter 5. Listen to "Sittin' In," Hawkins' "Body and Soul," "Tiger Rag" on CGC, "Voodte" and "How Deep is the Ocean," Eldridge's “After You’ve Gone” on JCC1. Supplement: Eldridge's "Rockin' Chair" and "I Can't Believe That You're in Love with Me," Tatum's "Too Marvelous for Words" and "Willow Weep for Me" on SCCJ.

Week 7 Monday:

Benny Goodman Read Chapter 5. Listen to “Seven Come Eleven” on PHJC and JCC1. Supplement: "I've Got a New Baby," "Breakfast Feud," and Goodman Trio's "Body and Soul" on SCCJ

71

Wednesday:

Count Basie Read pages 68-74. Listen to "Taxi War Dance" on CGC, and study its listening guide. Supplement: "Lester Leaps In" on JCC1

Friday:

Lester Young Listen to Young's solos on Billie Holiday's "Back in Your Own Back Yard" on CGC and Basie's "Taxi War Dance."

The 1940s Week 8 Monday:

Charlie Parker and Dizzy Gillespie Read Chapter 6. Listen to "Leap Frog" and “Parker’s Mood” on CGC. Listen to “Groovin’ High” on PHJC, "Shaw Nuff," "Just Friends," and “Things to Come” on JCC1. Supplement: "Ko-Ko" and other Parker and Gillespie items on SCCJ

Wednesday:

Thelonious Monk and Bud Powell Read pages 108-113. Listen to Powell's “Get Happy” on CGC, Monk’s “Round Midnight” on PHJC and “Misterioso” on JCC1. Supplement: Monk and Powell items on SCCJ

Friday:

Stan Getz and Dexter Gordon Read pages 113-116. Listen to “It Never Entered My Mind” and “Index” on CGC, "No Figs" on JCC2, and "Four Brothers" on PHJC and JCC1. Supplement: "Bikini" on SCCJ

Week 9 Monday:

Wednesday:

Friday:

Lennie Tristano, Lee Konitz, and Stan Kenton Read 123-127, 130-134. Listen to "Subconscious-Lee" and "Improvisation" on CGC, "Four Brothers" and “My Lady” on JCC1, and "No Figs" on JCC2. Supplement: "Boplicity" and Tristano items on SCCJ Miles Davis Listen to "Crazeology," “Klactoveesedstene," and "Boplicity" on SCCJ. SECOND EXAM

72

The 1950s Week 10 Monday:

Gerry Mulligan and Dave Brubeck Read pages 127-129. Listen to “Blue Rondo ala Turk” on JCC2. Supplement: "Boplicity" on SCCJ and recordings cited in endnotes of Chapter 7

Wednesday:

Clifford Brown and Sonny Rollins Read 151-156, 158-160. Listen to J. J. Johnson’s "Get Happy" on CGC, "Kiss and Run" on JCC2. Supplement: "Pent-Up House" and "Blue Seven" on SCCJ

Friday:

John Coltrane Read pages 160-161, 146-148. Listen to "Two Bass Hit" on CGC and "Flamenco Sketches" on JCC2. Supplement: "So What" on SCCJ

Week 11 Monday:

Art Blakey Read 138-140. Listen to “Egyptian” on CGC and “Cranky Spanky” on JCC2. Supplement: Blakey albums on Blue Note that are cited in end notes of Chapter 8

Wednesday:

Horace Silver and Cannonball Adderley Read pages 139, 143 and 146-148. Listen to “Gregory Is Here” on CGC, “Senor Blues” on JCC1, Adderley solos on "Two Bass Hit" on CGC, "Flamenco Sketches" on JCC2. Supplement: "So What" on SCCJ, Silver and Adderley albums cited in endnotes of Chapter 8

Friday:

Miles Davis Read pages 143, 148-151, and 188-192. Listen to "Blue in Green" and "Prince of Darkness" on CGC, "Flamenco Sketches" on JCC2, "Fishermen, Strawberry, Devil Crab" in JCC1, and “Masqualero” on JCC2. Supplement: "So What" and "Summertime" on SCCJ

The 1960s Week 12 Monday:

Ornette Coleman, Albert Ayler, and Cecil Taylor Read Chapter 9. Listen to “Dee Dee” and “Jitney #2” on CGC, "Civilization Day" on PHJC and “Ghosts: First Variation” on JCC3. 73

Supplement: "Enter Evening," "Congeniality," and "Free Jazz" on SCCJ Wednesday:

Bill Evans Read pages 176, 180-187. Listen to "Solar" and "Blue in Green" on CGC and "Flamenco Sketches" on JCC2. Supplement: "So What" on SCCJ

Friday:

John Coltrane Read pages 175-180. Listen to "Your Lady" on CGC and "Afro-Blue" on JCC2. Supplement: "Alabama" and "So What" on SCCJ

Week 13 Monday:

Bossa Nova Supplement: 1960s recordings of Antonio Carlos Jobim, Stan Getz, and Joao Gilberto

Wednesday:

Chicago Avant-Garde of the 1960s and 70s Listen to recordings of Sun Ra, Art Ensemble of Chicago, Anthony Braxton

Friday:

Herbie Hancock, Wayne Shorter, and Freddie Hubbard Read pages 188-191, 207-208, 235-237, and 156-157. Listen to Hancock and Shorter on Miles Davis’ "Prince of Darkness” and to Wayne Shorter on Blakey's "The Egyptian" on CGC. Listen to Hancock and Hubbard on “Maiden Voyage" and Hancock and Shorter on Davis' "Masqualero" on JCC2, and study their respective listening Guides in Jazz Styles. Supplement: assorted recordings cited in end notes of Chapters 8, 10 and 11

The 1970s Week 14 Monday:

Weather Report Read pages 202-207. Listen to "Surucucù" on JCC3 and "Birdland" on CGC.

74

Wednesday:

John McLaughlin and Keith Jarrett Read pages 201-202 and 229-234. Listen to "Wind-Up" on CGC and "Sundial, Part 1" on JCC3. Supplement: assorted recordings cited in end notes of Chapters 10 and 11

The 1980s and 1990s Friday:

Smooth Jazz Read pages 210-211, 219-220, and 224-227. Supplement: assorted recordings on Windham Hill and Narada, plus popular recordings by Spyro Gyra, Kenny G, George Benson, Joe Sample, Grover Washington, Jr., Bob James, Rick Braun, Chris Botti, Dave Koz, Earl Klugh, and other contemporary artists

Week 15

FINAL EXAM 15-WEEK INTRODUCTION TO JAZZ (emphasizing elements of music and how to listen) Tuesday-Thursday schedule; three exams

Week 1 Tuesday: Thursday: Week 2 Tuesday:

Thursday:

Week 3 Tuesday:

What is Jazz? Elements of Music (rhythm) Read pages 259-264 and Chapter 1. Elements of Music (instruments) Read pages 280-283. Listen to Demo CD tracks 59-98. Listen to J. J. Johnson's "Get Happy" and Art Blakey's "The Egyptian" on CGC for trumpet, tenor saxophone, and trombone identifications, "No Figs" on JCC2 for clarinet, trombone, alto saxophone, tenor saxophone, and baritone saxophone, and "Flamenco Sketches" on JCC1 for Harmon-muted trumpet, alto saxophone, and tenor saxophone. Elements of Music (chords) Read pages 264-274. Listen to Demo CD tracks 1-58 Listen to Demo CD tracks 16-20.

How to Listen (song forms and performance routines: blues) Read pages 272-273 and Chapter 2. 75

Listen to Demo CD tracks 19, 28-30. Listen to "Reckless Blues," "West End Blues," "Parker's Mood," and "Index" on CGC. Thursday:

Week 4 Tuesday:

Thursday: Week 5 Tuesday:

Thursday:

The 1920s Week 6 Tuesday:

Thursday:

How to Listen (song forms and performance routines: A-A-B-A form) Read pages 273-275. Listen to Demo CD track 33. Listen to "Taxi War Dance" and follow its listening guide on pages 70-72, then "Back in Your Own Back Yard," and follow its listening guide on page 83. Supplement: "Four Brothers" on PHJC, "Cottontail," and "Shaw Nuff" on JCC1, and follow their listening guides in the Jazz Styles textbook.

How to Listen (instrument roles and jam session routines) Read Chapter 2. Listen to Demo CD track 32, then "The Egyptian," "Prince of Darkness," and "Gregory Is Here" on CGC. First, use layered listening approach. Then follow listening guides. FIRST EXAM

Origins of Jazz Read Chapter 3. Listen to first 6 selections on JCC1. Origins of Jazz Read Chapter 3. Listen to “Alligator Hop” on CGC, following its listening guide on pages 34-35. Supplement: "Maple Leaf Rag" and "Dippermouth Blues" on SCCJ

Original Dixieland Jazz Band and Jelly Roll Morton Read Chapter 4. Listen to "Dixie Jazz Band One-Step" on CGC and follow its listening guide, beginning on page 32. Listen to “Wolverine Blues” on PHJC and JCC1. Supplement: "Black Bottom Stomp" on SCCJ James P. Johnson and Fats Waller Read pages 41-43. 76

Listen to "You've Got to Be Modernistic" and "Handful of Keys" on JCC1. Supplement: "Carolina Shout" and "I Ain't Got Nobody" on SCCJ Week 7 Tuesday:

The 1930s Thursday:

Week 8 Tuesday:

Sidney Bechet and Louis Armstrong Read pages 45-49. Listen to "West End Blues" and "Reckless Blues" on CGC, then "Hotter Than That" on JCC1. Supplement: "Cake Walkin' Babies from Home,” "Weather Bird," "Blue Horizon," "Potato Head Blues," and "Struttin' with Some Barbecue" on SCCJ

Duke Ellington Read pages 74-81. Listen to "Harlem Airshaft" on CGC, then "Cottontail" on JCC1. Supplement: "Concerto for Cootie" and "In a Mellotone" on SCCJ Note: Though these pieces were recorded in 1940 they represent a culmination of Ellington's work in the 1930s.

Duke Ellington Read 74-81. Listen to "I've Got It Bad" on CGC, then "Transblucency" and "Prelude to a Kiss" on JCC1. Note: Though these pieces were written during the 1930s, the JCC1 renditions were recorded later.

Thursday:

Week 9 Tuesday:

Count Basie and Lester Young Read pages 67-74 Listen to "Taxi War Dance" on CGC. Supplement: “Lester Leaps In” on JCC1

Benny Goodman, Roy Eldridge, Coleman Hawkins, and Art Tatum Read pages 74 and 62-67. Listen to Eldridge's "Sittin' In," Hawkins' "Body and Soul," and Tatum's "Tiger Rag" on CGC, "Voodte" and "How Deep is the Ocean?" on JCC1, Goodman's “Seven Come Eleven” on PHJC and Eldridge's “After You’ve Gone” on JCC1. Supplement: "I Found a New Baby," Goodman Trio's "Body and Soul," Eldridge's "Rockin' Chair" and "I Can't Believe That You're in Love with Me," Tatum's "Willow Weep for Me" and "Too Marvelous for Words" on SCCJ. 77

Note: Though some of these selections were recorded after the 1930s, all their styles reflect jazz of the 1930s. Thursday: The 1940s Week 10 Tuesday:

Thursday:

The 1950s Week 11 Tuesday:

Thursday:

Week 12 Tuesday:

Thursday:

SECOND EXAM

Charlie Parker, Dizzy Gillespie, Thelonious Monk, and Bud Powell Read Chapter 6. Listen to "Leap Frog," Powell's “Get Happy,” “Parker’s Mood,” and “Index” on CGC, “Round Midnight” on PHJC, “Misterioso,” "Shaw Nuff," "Just Friends," and “Things to Come” on JCC1. Supplement: Parker, Gillespie, Monk, and Powell items on SCCJ Lennie Tristano, Lee Konitz, Miles Davis, and Stan Getz Read Chapter 10. Listen to "Subconscious-Lee," “It Never Entered My Mind,” and “Improvisation” on CGC, "Four Brothers" on PHJC and JCC1, "No Figs" and “My Lady” on JCC2. Supplement: "Boplicity" and Tristano items on SCCJ

Gerry Mulligan and Dave Brubeck Read Chapter 7. Listen to “Blue Rondo ala Turk” on PHJC and JCC2. Supplement: Listen to "Boplicity" on SCCJ and listen to albums cited in endnotes of Chapter 7. Clifford Brown and Sonny Rollins Read pages 151-156 and 158-160. Listen to J. J. Johnson's "Get Happy" on CGC and "Kiss and Run" on JCC2. Supplement: "Pent-Up House" and "Blue Seven" on SCCJ Horace Silver, Art Blakey, and Cannonball Adderley Read pages 137-147, 157-158. Listen to "Two Bass Hit," “Gregory Is Here,” and “The Egyptian” on CGC, “Work Song” on PHJC, “Cranky Spanky,” and "Flamenco Sketches" on JCC2. Supplement: "So What" on SCCJ, Silver and Adderley albums cited in endnotes of Chapter 8 Miles Davis Read pages 143, 148-151. Listen to "Blue in Green" and “Prince of Darkness” on CGC, 78

"Fishermen, Strawberries, Devil Crab" on JCC1, "Flamenco Sketches" and "Masqualero" on JCC2. Supplement: "So What" and "Summertime" on SCCJ The 1960s Week 13 Tuesday:

Thursday:

The 1970s Week 14 Tuesday:

John Coltrane Read pages 160-161, 175-176. Listen to "Your Lady," "Two Bass Hit," "Blue in Green," on CGC, "Flamenco Sketches" and "Afro-Blue" on JCC2. Supplement: "So What" and "Alabama" on SCCJ Ornette Coleman, Albert Ayler, and Cecil Taylor Read Chapter 9. Listen to "Dee Dee" and “Jitney #2” on CGC, “Civilization Day” on PHJC, "Ghosts: First Variation" on JCC3. Supplement: "Enter Evening," "Lonely Woman," "Congeniality," and "Free Jazz" on SCCJ

Weather Report and John McLaughlin Read pages 201-207. Listen to "Surucucù" on JCC3 and "Birdland" on CGC. Supplement: McLaughlin Columbia albums cited in endnotes of Chapter 10

The 1980s and 1990s Thursday: Smooth Jazz Read pages 210-211, 219-221, and 224-227. Supplement: assorted recordings on Windham Hill and Narada, plus music by Kenny G, Earl Klugh, Grover Washington, Jr., Joe Sample, George Benson, Dave Koz, Bob James, Rick Braun, Chris Botti, and other popular contemporary artists Week 15

FINAL EXAM

10-WEEK "STRAIGHT HISTORY" OF JAZZ (no introductory emphasis on elements of music or how to listen) 79

Monday-Wednesday-Friday Schedule; midterm and a final exam Week 1 Monday: Wednesday:

Friday:

The 1920s Week 2 Monday:

What is Jazz? Origins of Jazz Read Chapters 1, 2. Listen to first 6 selections on JCC1. Listen to Demo CD tracks 50-58. Supplement: "Maple Leaf Rag" on SCCJ Listen to "Alligator Hop," following its listening guide on pages 34-37.

ODJB and Jelly Roll Morton Read Chapter 4. Listen to "Dixie Jazz Band One-Step" on CGC, “Wolverine Blues” on PHJC and JCC1. Supplement: "Dippermouth Blues" and "Black Bottom Stomp" on SCCJ

Wednesday:

Sidney Bechet, Louis Armstrong, and Bix Beiderbecke Read Chapter 4. Listen to "West End Blues," "Reckless Blues" and “Riverboat Shuffle” on CGC, “Singin’ the Blues,” and "Hotter Than That" on JCC1. Supplement: "Blue Horizon," "Cake Walkin' Babies from Home," "Potato Head Blues," "Weather Bird," on SCCJ

Friday:

James P. Johnson and Fats Waller Read 41-43. Listen to "You've Got to Be Modernistic" and "Handful of Keys" on JCC1. Supplement: "Carolina Shout" and "I Ain't Got Nobody" on SCCJ

80

The 1930s Week 3 Monday:

Duke Ellington Read pages 74-81. Listen to "Harlem Airshaft" following its listening guide and "Cottontail" on JCC1. Supplement: "Concerto for Cootie" and "In a Mellotone" on SCCJ Note: Though these recordings were made in 1940, they represent the culmination of work Ellington did during the 1930s.

Wednesday:

Duke Ellington Read pages 74-81. Listen to "I've Got It Bad" on CGC and to "Transblucency" and "Prelude to a Kiss" on JCC1. Note: These pieces were written during the 1930s, but the CD renditions cited here were recorded later.

Friday:

Benny Goodman, Coleman Hawkins, Roy Eldridge, and Art Tatum Read Chapter 5. Listen to Tatum's "Tiger Rag," Hawkins' "Body and Soul," Eldridge's "Sittin' In" on CGC, Goodman's “Seven Come Eleven” on PHJC and JCC1, "Voodte" "How Deep is the Ocean?" and Eldridge's “After You’ve Gone” on JCC1. Supplement: Eldridge's "Rockin' Chair," "I Can't Believe That You're in Love with Me," Tatum's "Willow Weep for Me," "Too Marvelous for Words," Goodman's "I Found A New Baby" and Goodman Trio's "Body and Soul" on SCCJ. Note: Though some of these recordings were made after 1939, all represent styles of the 1930s.

Week 4 Monday:

Count Basie Read pages 67-74. Listen to "Taxi War Dance" on CGC. Supplement: "Doggin' Around" on SCCJ

Wednesday:

Lester Young Read pages 70-74. Listen to Lester Young solos on “Taxi War Dance” and on Billie Holiday's "Back in Your Own Back Yard" on CGC. Supplement: "Lester Leaps In" on JCC1

Friday:

MIDTERM EXAM

81

The 1940s Week 5 Monday:

Charlie Parker Read Chapter 6. Listen to Demo CD tracks 1-8 for bop drumming. Listen to “Leap Frog” and “Parker’s Mood” on CGC, "Groovin' High" on PHJC, "Shaw Nuff," "Just Friends," and “Things to Come” on JCC1. Supplement: Parker selections on SCCJ

Wednesday:

Dizzy Gillespie Read Chapter 6. Listen to “Leap Frog” on CGC, "Groovin' High" on PHJC, "Shaw Nuff" and "Things to Come" on JCC1. Supplement: Gillespie selections on SCCJ

Friday:

Thelonious Monk and Bud Powell Read pages 108-113. Listen to “Round Midnight” on PHJC, “Misterioso” on JCC1, and to Powell's “Get Happy” on CGC. Supplement: Monk and Powell selections on SCCJ.

Week 6 Monday:

Wednesday:

The 1950s Friday:

Week 7 Monday:

Lennie Tristano, Lee Konitz, and Stan Getz Read Chapter 10. Listen to "Subconscious-Lee," “Improvisation” and “It Never Entered My Mind” on CGC, "No Figs" on JCC2, "Four Brothers" on PHJC, and “My Lady” on JCC1. Supplement: Tristano selections on SCCJ Miles Davis Read pages 125 and 127. Listen to "Boplicity," "Crazeology," and "Klactoveesedstene" on SCCJ. Gerry Mulligan and Dave Brubeck Read Chapter 7. Listen to “Blue Rondo ala Turk” on PHJC and JCC2. Supplement: albums cited in endnotes of Chapter 7.

Clifford Brown and Sonny Rollins Read pages 151-156, and 158-160. Listen to J. J. Johnson's "Get Happy" on CGC and “Kiss and Run” on JCC2. Supplement: "Pent-Up House" and "Blue Seven" on SCCJ 82

Wednesday:

Miles Davis Read pages 143 and 148-151. Listen to "Blue in Green" on CGC and "Flamenco Sketches" on JCC2. Supplement: "Summertime" and "So What" on SCCJ

Friday:

Horace Silver, Art Blakey and Cannonball Adderley Read Chapter 8. Listen to "Two Bass Hit," “Gregory is Here,” and “The Egyptian” on CGC. Listen to “Senor Blues” and “Cranky Spanky” on JCC1. Listen to Adderley solo on "Flamenco Sketches" on JCC2. Supplement: Adderley solo on "So What" on SCCJ, Silver and Adderley albums cited in endnotes of Chapter 11

The 1960s Week 8 Monday:

Bill Evans Read pages 176, 180-187. Listen to "Solar" and "Blue in Green" on CGC, and "Flamenco Sketches" on JCC2. Supplement: "So What" on SCCJ

Wednesday:

Ornette Coleman, Albert Ayler and Cecil Taylor Read Chapter 9 Listen to "Dee Dee" and “Jitney #2” on CGC, “Civilization Day” on PHJC, JCC2, and “Ghosts: First Variation” on JCC3. Supplement: "Congeniality," "Free Jazz (excerpt)," "Lonely Woman," and "Enter Evening" on SCCJ

Friday:

John Coltrane Read pages 160-161, 175-180. Listen to "Two Bass Hit,” "Blue in Green," "Your Lady," on CGC, "Flamenco Sketches" and "Afro-Blue" on JCC2. Supplement: "So What" and "Alabama" on SCCJ

Week 9 Monday:

Wayne Shorter, Herbie Hancock, and Freddie Hubbard Read pages 235-237, 188-191, 207-208, and 156-157. Listen to Shorter on Art Blakey's "The Egyptian" and Miles Davis' “Prince of Darkness” on CGC. Listen to Hancock and Hubbard on Hancock's “Maiden Voyage,” and listen to Hancock and Shorter on Miles Davis' "Masqualero" on JCC2. Supplement: Blue Note albums cited in endnotes of Chapters 8, 10, 11 83

The 1970s, 1980s, and 1990s Wednesday:

Chick Corea and Keith Jarrett Read 208-210, 212-213, and 229-234. Listen to “Spanish Key,” “Wind-Up” on CGC, "Steps" and "Sundial: Part 1" on JCC3. Supplement: Corea and Jarrett albums cited in endnotes of Chapters 10, 11

Friday:

Weather Report and Smooth Jazz Read 202-207, 210-211, 219-221, and 223-227. Listen to "Surucucù" on JCC3 and "Birdland" on CGC. Supplement: assorted recordings on Windham Hill and Narada, plus music cited in chapter endnotes by Kenny G, Grover Washington, Jr., George Benson, Joe Sample, Earl Klugh, Bob James, Dave Koz, Rick Braun, Chris Botti, and other popular contemporary artists

Week 10

FINAL EXAM 10-WEEK "STRAIGHT HISTORY" OF JAZZ (without emphasis on elements of music or how to listen) Tuesday-Thursday Schedule; midterm and final

Week 1 Tuesday: Thursday:

Week 2 Tuesday:

What is Jazz? Origins of Jazz Read Chapters 1, 2 and 3. Listen to Demo CD tracks 50-58, “Alligator Hop” on CGC, following the listening guide on pages 34-37. Listen to first 6 selections on JCC1. Supplement: "Dippermouth Blues," "Maple Leaf Rag" on SCCJ Early Jazz: ODJB, Louis Armstrong, and James P. Johnson Read Chapter 4. Listen to "Dixie Jazz Band One-Step," "West End Blues," "Riverboat Shuffle," “Reckless Blues” on CGC, "Wolverine Blues" on PHJC, "Singin' the Blues," "Hotter than That" and "You've Got to Be Modernistic" on JCC1. Supplement: "Cake Walkin' Babies from Home," "Carolina Shout," "Potato Head Blues," "Weather Bird" on SCCJ

84

Swing Thursday:

Week 3 Tuesday:

Thursday: Bop Week 4 Tuesday:

Thursday:

Cool Week 5 Tuesday:

Thursday:

Count Basie and Lester Young Read pages 67-74. Listen to "Taxi War Dance" and Lester Young's solo on Billie Holiday's "Back in Your Own Back Yard" on CGC. Supplement: "Lester Leaps In" on JCC1

Duke Ellington Read pages 74-81. Listen to "Harlem Airshaft," "I've Got It Bad" on CGC, "Cottontail," "Transblucency," and "Prelude to A Kiss" on JCC1. Supplement: "East St. Louis Toodle-o," "In a Mellotone," and "Concerto for Cootie" on SCCJ. FIRST EXAM

Charlie Parker and Dizzy Gillespie Read Chapter 6. Listen to Demo CD for bop drumming (tracks 1-8). Listen "Leap Frog" and “Parker’s Mood” on CGC, "Groovin' High" on PHJC, "Shaw Nuff," "Just Friends," and "Things to Come” on JCC1. Supplement: Parker and Gillespie selections on SCCJ Thelonious Monk and Bud Powell Read pages 108-113. Listen to “Round Midnight” on PHJC, “Misterioso” on JCC1, Powell's “Get Happy” on CGC. Supplement: Monk and Powell selections on SCCJ.

Lennie Tristano, Lee Konitz, and Stan Getz Read Chapter 7. Listen to “Subconscious-Lee," "It Never Entered My Mind," and “Improvisation” on CGC, "Four Brothers" on PHJC, “My Lady,” and “No Figs” on JCC2. Supplement: "Boplicity" and Tristano selections on SCCJ Dave Brubeck and Gerry Mulligan Read Chapter 7. Listen to “Blue Rondo ala Turk” on PHJC and JCC2. Supplement: albums cited in endnotes of Chapter 7

85

Hard Bop Week 6 Tuesday:

Thursday:

Clifford Brown and Sonny Rollins, Art Blakey & Horace Silver Read Chapter 8. Listen to “Gregory Is Here,” J. J. Johnson's “Get Happy,” and “The Egyptian” on CGC, “Senor Blues,” "Kiss and Run" and “Cranky Spanky” on JCC2. Supplement: "Pent-Up House" and "Blue Seven" on SCCJ Miles Davis and John Coltrane Read pages 143, 146-151 and 160-161 Listen to "Two Bass Hit" and "Blue in Green" on CGG, and "Flamenco Sketches" on JCC2. Supplement: "So What," "Alabama," "Summertime" on SCCJ

Free Jazz Week 7 Tuesday:

Ornette Coleman, Albert Ayler, and Cecil Taylor Read Chapter 14. Listen to "Dee Dee" and “Jitney #2” on CGC, “Civilization Day” on PHJC and JCC2, and "Ghosts: First Variation" on JCC3. Supplement: "Enter Evening," "Congeniality," "Lonely Woman," and "Free Jazz" on SCCJ

1960s Innovations Thursday:

Week 8 Tuesday:

Thursday:

Bill Evans Read pages 176, 180-187. Listen to "Solar" and "Blue in Green" on CGC, and "Flamenco Sketches" on JCC2. Supplement: "So What" on SCCJ

Herbie Hancock, Wayne Shorter, and Freddie Hubbard Read pages 188-191, 207-208, 156-157, 235-237 Listen to Hancock and Shorter on "Prince of Darkness” and listen to Shorter on "The Egyptian" on CGC. Listen to Hancock and Hubbard on “Maiden Voyage” and to Hancock and Shorter on "Masqualero" on JCC2, and study their listening guide in the Jazz Styles textbook. Supplement: assorted recordings cited in endnotes of Chapters 8, 10 and 11

John Coltrane's 1960s Innovations 86

Read pages 175-180 Listen to "Your Lady" on CGC and "Afro-Blue" on JCC2. 1970s, 1980s, and 1990s Week 9 Tuesday:

Weather Report and John McLaughlin Read pages 201-207. Listen to "Surucucù" on JCC3 and "Birdland" on CGC. Supplement: recordings cited in endnotes of Chapter 10

Thursday:

Smooth Jazz Read pages 210-211, 219-221, and 224-227. Listen to recordings on Windham Hill and Narada, and study the music of Kenny G, Grover Washington, Jr., Joe Sample, Earl Klugh, George Benson, Spyro Gyra, Bob James, Dave Koz, Rick Braun, Chris Botti, and other popular contemporary musicians.

Week 10

FINAL EXAM 10-WEEK INTRODUCTION TO JAZZ (with introductory emphasis on elements of music and how to listen) Monday-Wednesday-Friday schedule; three exams

Week 1 Monday:

What is Jazz?

Wednesday:

Elements of Music (rhythm) Read chapters 1 and 2, pages 259-264.

Friday:

Elements of Music (instruments) Read pages 280-283. Listen to Demo CD tracks 1-15, 59-98. Listen to J. J. Johnson's "Get Happy" and Art Blakey's "The Egyptian" on CGC for identifying trumpet, tenor saxophone and trombone; "No Figs" on JCC2 for clarinet, alto saxophone, tenor saxophone, baritone saxophone and trombone, "Flamenco Sketches" on JCC2 for Harmon-muted trumpet, alto saxophone, tenor saxophone identifications.

Week 2 Monday:

Wednesday:

Elements of Music (chords) Read pages 264-274. Listen to Demo CD tracks 16-19. How to Listen (song forms: blues) 87

Read pages 272-273. Listen to Demo CD tracks 16-20, 33-36, “Reckless Blues,” "West End Blues," and "Index" on CGC, following their listening guides. Friday:

Week 3 Monday:

Wednesday:

Friday: Week 4 Monday:

How to Listen (instrument roles and song form: A-A-B-A) Read Chapter 2. Listen to Demo CD tracks 19-32, "Taxi War Dance" and "Back in Your Own Back Yard" on CGC, following their listening guides on pages 70-72.

Layered Listening Approach Listen first, and then follow the listening guides for "Harlem Airshaft" and "Prince of Darkness." Listening to Blues and A-A-B-A Song Forms Listen first, and then follow the listening guides for "West End Blues," "Taxi War Dance," "Parker's Mood" on CGC, "Cottontail," "Four Brothers," and "Shaw Nuff" on JCC1. FIRST EXAM

The Origins of Jazz Read Chapter 3. Listen to Demo CD tracks 50-58. Listen to the first 7 selections on JCC1. Supplement: "Maple Leaf Rag" on SCCJ

Wednesday:

Origins of Jazz Listen to "Alligator Hop," following its listening guide.

Friday:

Early Jazz (Original Dixieland Jazz Band, James P. Johnson) Read Chapter 4. Listen to "Dixie Jazz Band One-Step" on CGC and "You've Got to Be Modernistic" on JCC1. Supplement: "Carolina Shout" and "Dippermouth Blues" on SCCJ

Week 5 Monday:

Early Jazz (Louis Armstrong and Earl Hines) Listen to "West End Blues" and "Reckless Blues" on CGC. Supplement: "Weather Bird," "Cake Walkin' Babies from Home," "Potato Head Blues," and "Hotter Than That" on SCCJ

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Wednesday:

Swing (Benny Goodman, Coleman Hawkins, and Roy Eldridge) Read Chapter 5. Listen to Eldridge's "Sittin' In" and Hawkins' "Body and Soul" on CGC, Goodman's “Seven Come Eleven” on PHJC, "Voodte" and "How Deep is the Ocean?" and Eldridge's “After You’ve Gone” on JCC1. Supplement: Goodman Trio's "Body and Soul," Eldridge's "Rockin' Chair," Goodman's "I Found a New Baby," Hawkins' "The Man I Love," and Eldridge's "I Can't Believe That You're in Love with Me" on SCCJ.

Friday:

Count Basie and Lester Young Read pages 68-74. Listen to "Taxi War Dance" and Lester Young's solo on Billie Holiday's "Back in Your Own Back Yard" on CGC. Supplement: “Lester Leaps In” on JCC1

Week 6 Monday:

Duke Ellington Read Ellington coverage, beginning on page 74. Listen to "Harlem Airshaft" in CGC and "Cottontail" on JCC1. Supplement: "Concerto for Cootie" and "In a Mellotone" on SCCJ

Wednesday:

Duke Ellington Read pages 74-80. Listen to "I've Got It Bad" on CGC; "Transblucency" and "Prelude to a Kiss" on JCC1. Supplement: Ellington's "Ko-Ko" and "East St. Louis Toodle-o" on SCCJ

Friday:

Bop (Charlie Parker and Dizzy Gillespie) Read Chapter 6. Listen to “Leap Frog” and “Parker’s Mood” on CGC, “Groovin’ High” on PHJC, "Shaw Nuff," "Just Friends," and "Things to Come" on JCC1. Supplement: Parker and Gillespie selections on SCCJ

Week 7 Monday:

Wednesday:

Bop (Thelonious Monk and Bud Powell) Listen to Powell's “Get Happy" on CGC, “Round Midnight” on PHJC, “Misterioso” on JCC1. Supplement: Monk and Powell selections on SCCJ Cool (Lennie Tristano, Lee Konitz, and Stan Getz) Read Chapter 7. Listen to "Subconscious-Lee" on CGC, “Improvisation” on CGC, 89

"No Figs" and “My Lady” on JCC2. Supplement: "Boplicity" and Tristano selections on SCCJ Friday: Week 8 Monday:

SECOND EXAM

Hard Bop Read Chapter 8. Listen to J. J. Johnson's "Get Happy," “Gregory Is Here,” and “The Egyptian” on CGC, “Work Song” on PHJC, "Cranky Spanky" and “Senor Blues” on JCC2. Supplement: "Pent-Up House" and "Blue Seven" on SCCJ

Wednesday:

Miles Davis and John Coltrane Listen to "Two Bass Hit," "Blue in Green," and "Your Lady," “Prince of Darkness” on CGC, "Flamenco Sketches," "Masqualero," and "The Promise" on JCC2, Supplement: "So What" and "Alabama" on SCCJ

Friday:

Free Jazz Read Chapter 9. Listen to "Dee Dee," “Jitney #2,” and "The Wind-Up" on CGC following their listening guides, “Civilization Day” on PHJC, and "Ghosts: First Variation" on JCC3. Supplement: "Enter Evening," "Congeniality," "Lonely Woman," and "Free Jazz (excerpt)" on SCCJ

Week 9 Monday:

Bill Evans, Herbie Hancock, and Chick Corea Read 176, 180-188, 191, 207-210-199. Listen to "Solar," "Blue in Green," "Prince of Darkness," "Spanish Key" on CGC; "Flamenco Sketches," “Maiden Voyage,” "Masqualero" on JCC2, and "Steps" on JCC3. Supplement: "So What" on SCCJ

Wednesday:

Fusion (Weather Report) Read Chapter 10. Listen to "Surucucù" on JCC3 and "Birdland" on CGC.

Friday:

Smooth Jazz and New Age Read 210-211, 219-220, and 224-227. Listen to albums on Windham Hill and Narada, and study the music of Kenny G, Grover Washington, Jr., Earl Klugh, George Benson, Spyro Gyra, Bob James, Dave Koz, Rick Braun, Chris Botti, and other popular contemporary musicians.

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Week 10

FINAL EXAM 10-WEEK INTRODUCTION TO JAZZ (with introductory emphasis on elements of music and how to listen) Tuesday-Thursday Schedule; three exams

Week 1 Tuesday: Thursday:

Week 2 Tuesday:

Thursday:

Week 3 Tuesday:

Thursday: Week 4 Tuesday:

Thursday:

What is Jazz Elements of Music (rhythm) Read pages 259-264 and Chapter 1.

Elements of Music (instruments) Read 280-283. Listen to Demo CD tracks 1-15, 59-98. Listen to CGC for Art Blakey's "The Egyptian" and J. J. Johnson's "Get Happy" for trumpet, tenor saxophone, and trombone identifications; "No Figs" on JCC2 for clarinet, alto saxophone, tenor saxophone, baritone saxophone, and trombone, "Flamenco Sketches" on JCC2 for Harmon-muted trumpet, alto saxophone, and tenor saxophone. Elements of Music (chords) Read 264-274. Listen to Demo CD tracks 16-20, "Reckless Blues," "West End Blues," "Index" on CGC for blues form.

How to Listen (song form routines and instrument roles) Read Chapter 2 and pages 273-278. Listen to Demo CD tracks 19-37, "Taxi War Dance" and "Back in Your Own Back Yard" to learn A-A-B-A, "Parker's Mood" to review blues. Supplement: "Cottontail" and "Shaw Nuff," on JCC1 for A-A-B-A FIRST EXAM

Origins of Jazz Read Chapter 3. Listen to first 6 examples on JCC1. Listen to blue notes and pitch bends on Demo CD tracks 50-58. Supplement: "Maple Leaf Rag" on SCCJ Early Jazz (Original Dixieland Jazz Band and Oliver’s Creole Jazz Band) 91

Read Chapter 5. Listen to "Dixie Jazz Band One-Step" and "Alligator Hop" on CGC, following their listening guides. Supplement: "Carolina Shout" on SCCJ Week 5 Tuesday:

Thursday:

Early Jazz (Louis Armstrong and Bix Beiderbecke) Read pages 45-61. Listen to "West End Blues" and “Riverboat Shuffle” on CGC, “Singin’ the Blues” and "Hotter Than That" on JCC1. Supplement: "Weather Bird," "Cake Walkin' Babies from Home," "Potato Head Blues" on SCCJ Swing Read Chapter 5. Listen to "Taxi War Dance," "Sittin' In," Hawkins' "Body and Soul" on CGC, and “Seven Come Eleven” on PHJC, “After You’ve Gone,” and "Lester Leaps In" on JCC1. Supplement: "Goodman Trio's "Body and Soul," "I've Found a New Baby," Hawkins' "The Man I Love" in SCCJ

Week 6 Tuesday:

Duke Ellington Read 74-81. Listen to "Harlem Airshaft," "I've Got It Bad" on CGC, "Cottontail," "Prelude to a Kiss," and "Transblucency" in JCC1. Supplement: "Concerto for Cootie" and "In a Mellotone" on SCCJ

Thursday:

SECOND EXAM

Week 7 Tuesday:

Bebop Read Chapter 6. Listen to “Leap Frog,” Powell's “Get Happy,” “Index,” “Parker’s Mood” on CGC, “Groovin’ High” on PHJC, "Shaw Nuff," “Misterioso,” “Things to Come," "Four Brothers" on JCC1. Supplement: Parker and Gillespie items on SCCJ

Thursday:

Cool Read Chapter 10. Listen to "Subconscious-Lee," "It Never Entered My Mind," “Improvisation” on CGC, “My Lady” and "No Figs" on JCC2. Supplement: "Boplicity" and Tristano items on SCCJ

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Week 8 Tuesday:

Thursday:

Week 9 Tuesday:

Thursday:

Hard Bop and Miles Davis Read Chapter 8 Listen to “Gregory Is Here,” “The Egyptian,” “Two-Bass Hit,” "Blue in Green," "Prince of Darkness," J. J. Johnson's "Get Happy" on CGC, “Work Song” on PHJC, "Cranky Spanky," “Kiss and Run,” “Senor Blues,” and "Flamenco Sketches" on JCC2. Supplement: "Pent-Up House," "Blue Seven,” "So What," and "Summertime" on SCCJ John Coltrane and Ornette Coleman Read Chapter 9. Listen to "Your Lady," "Two Bass Hit," "Blue in Green" on CGC, "Civilization Day" on PHJC, "Flamenco Sketches" and "Afro-Blue" on JCC2. Supplement: "Enter Evening," "Lonely Woman," "Free Jazz (excerpt)," "Alabama," and "Congeniality" on SCCJ. Bill Evans, Chick Corea, Herbie Hancock Read pages 176, 180-188, 191, and 207-210. Listen to "Blue in Green," "Solar," "Spanish Key," “Prince of Darkness” on CGC, "Flamenco Sketches,” “Maiden Voyage,” "Masqualero" on JCC2, and "Steps" on JCC3. Fusion Read Chapter 10. Listen to "Birdland" on CGC, "Surucucù" and "Chameleon" on JCC3.

Week 10

FINAL EXAM

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DEMONSTRATION CD CONTENTS Note: The 72-minute Demonstration CD is available in a number of packages: the CD alone (Prentice-Hall, ISBN 0-13-601098-9), the book with Demonstration CD (PrenticeHall, ISBN 0205726364), or the book with Demonstration CD and Jazz Classics CDs (Prentice-Hall, ISBN 0205678424). Note: Numbers below do not designate the CD track numbers. They just tally the details. 1. bass drum 2. high-hat cymbal 3. high-hat struck in open position 4. high-hat struck in semi-open position 5. high-hat struck in closed position 6. ride rhythm played on opening and closing high-hat 7. ride rhythm on ride cymbal 8. crash cymbal 9. snare drum 10. ride cymbal vs. crash cymbal 11. small tom-tom 12. large tom-tom 13. combining the drums and cymbals 14. snare drum rhythm of early jazz 15. wood block rhythm of early jazz 16. wire brushes stirring soup on snare drum 17. wire brushes striking ride cymbal 18. drum stick striking ride cymbal 19. mallets striking drums 20. mallets striking cymbals 21. chord definition and demonstration 22. I-chord explanation and demonstration in C 23. I-chord in F# 24. I-chord in Bb 25. I-chord in the key of C 26. II-chord in the key of C 27. III-chord in the key of C 28. IV-chord in the key of C 29. V-chord in the key C 30. VI-chord in the key of C 31. VII-chord in the key of C 32. definition of chord change and example of I-II progression 33. I-IV progression 34. IV-I progression 35. I-V-I progression 36. I-IV-I-V-I blues progression, keyed to diagram in Elements of Music Appendix 37. chord voicing examples as shown in Elements of Music Appendix 94

38. definition of syncopation and comping; demonstration contrasting chording in unsyncopated manner with: 39. chording in syncopated manner 40. bass played by bow (arco) 41. bass played by plucking (pizzicato) 42. definition and demonstration of walking bass 43. embellished walking style 44. 12-bar blues played by walking bass 45. right-hand horn-like piano lines accompanied by walking bass demonstrating blues without chord accompaniment 46. horn-like pizzicato bass improvisation 47. non-repetitive style bass playing with piano improvisation 48. walking bass combined with piano comping on 12-bar blues 49. definition of chorus, demonstrated in two choruses of 12-bar blues by walking bass 3 examples of funk bass 50. piano, bass and drums accompaniment for 12-bar blues electronic, funk rhythm section style 51. tenor sax accompanied by piano, bass and drums 52. sax accompanied by piano and drums 53. sax accompanied by piano, bass and drums 54. sax accompanied by bass and drums 55. sax accompanied by piano, bass and drums 56. sax accompanied by piano and bass 57. sax accompanied by drums 58. sax accompanied piano, bass and drums 59. sax accompanied by piano 60. sax accompanied by bass 61. sax accompanied by piano, bass and drums 62. explanation and demonstration of A-A-B-A: first A-section of "(Meet the) Flintstones" 63. second A-section of "(Meet the) Flintstones" 64. bridge of "(Meet the) Flintstones" 65. final A-section of "(Meet the) Flintstones" 66. demonstration of how chords guide improvisation: Flintstones theme played by flute while pianist improvises, guided by accompaniment chords 67. piano improvisations on Flintstones progression without using the aid of melody 68. stop-time solo break explanation and demonstration 69. double-timing explanation and demonstration 70. half-time explanation and demonstration 71. left-hand comping on piano 72. right-hand horn-like melody lines on piano accompanied by left hand comping 73. right-hand horn-like piano lines without accompaniment 74. stride-style explanation and demonstration 75. stride-style left hand accompaniment with right-hand melody boogie woogie style left hand 95

boogie-woogie style left hand plus right-hand melody 76. walking tenths 77. horn-like piano lines 78. octave-voiced piano lines 79. tremolo 80. swing eighth-note pattern 81. legato 82. staccato 83. tone with no vibrato 84. tone with regular vibrato (slow) 85. tone with regular vibrato (fast) 86. tone with terminal vibrato 87. drop (fall-off) 88. scoop 89. smear 90. doit 91. C scale without blue notes 92. C scale with the flat third blue note 93. trombone playing C scale 94. trombone playing C scale with flat third 95. trombone playing major scale, sliding down to neutral third 96. trombone playing major scale, sliding up to neutral third 97. trumpet 98. trumpet with no vibrato 99. trumpet with vibrato 100. fluegelhorn 101. trumpet vs. fluegelhorn 102. fluegelhorn identification quiz 103. cup muted trumpet 104. Harmon mute with stem 105. Harmon mute without stem 106. straight mute 107. plunger mute 108. trumpet 109. fluegelhorn 110. cup-muted trumpet 111. Harmon mute with stem 112. Harmon mute without stem 113. straight mute 114. plunger mute and growl 115. clarinet 116. clarinet with no vibrato 117. clarinet with vibrato 118. soprano sax 119. soprano sax with no vibrato 120. soprano sax with vibrato 96

121. clarinet vs. soprano sax 122. alto sax 123. alto sax with no vibrato 124. alto sax with vibrato 125. tenor sax 126. tenor sax with no vibrato 127. tenor sax with vibrato 128. baritone sax 129. baritone sax with no vibrato 130. baritone sax with vibrato 131. flute 132. flute with no vibrato 133. flute with vibrato 134. flute vs. clarinet 135. tenor sax vs. soprano sax 136. tenor sax vs. soprano sax 137. trombone 138. trombone with no vibrato 139. trombone with vibrato 140. cup-muted trombone 141. straight-muted trombone 142. plunger-muted trombone with buzz mute 143. trumpet-fluegelhorn-trombone comparison 144. soprano sax, alto sax, tenor sax, baritone sax, flute & clarinet 145. hollow-body guitar, un-amplified, played pizzicato with pick 146. hollow-body guitar, amplified, played pizzicato with pick 147. hollow-body guitar, amplified, plucked with thumb 148. finger-plucked octaves on hollow-body guitar, amplified 149. rhythm guitar style played with pick 150. comping by guitar, played with pick 151. reverberated electric guitar tone 152. banjo solo line 153. banjo chords played in rhythm style 154. banjo vs. guitar 155. amplified guitar plucked vs. picked vs. octave-voiced 156. reverberated electric guitar 157. vibraphone 158. tenor sax playing blues 159. trumpet playing blues 160. trombone playing blues 161. alto sax playing blues 162. flute playing blues 163. soprano sax playing blues 164. trumpet with Harmon mute with no stem playing blues 165. fluegelhorn playing blues 166. trombone with plunger mute playing blues 97

167. trumpet with plunger mute playing blues 168. baritone sax playing blues 169. trombone with cup mute playing blues 170. trumpet with cup mute playing blues 171. clarinet playing blues

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CONTENTS FOR THE JAZZ CLASSICS CD1 (Prentice-Hall, ISBN 0-13-600561-6) Also available bundled with the Jazz Styles textbook (ISBN 0-13-503432-9) and with the value pack that combines the textbook, the Demo CD, and the 3 classics CDs (ISBN 013-503436-1). 1.

African American Pitch Bending Illustrations A. "Street Cries of Charleston" (excerpt); no recording date, composer or performer credits are known; this is owned by Fantasy Records, originally issued by Riverside Records; reissued as Riverside History of Classic Jazz, Fantasy: 3RBCD-005-2, disc 1, track 2. B. "Fisherman, Strawberry, Devil Crab" (excerpt); recorded July 29, 1958; first issued on the album, Miles Davis, Porgy and Bess, Columbia CS 8085, side 2, track 3; composer: George Gershwin; arranger: Gil Evans; trumpet soloist: Miles Davis.

2.

African American Retentions Sequence A.

"Hunter's Dance" (30 second excerpt); this is a West African field recording made by Gilbert Rouget; no composer or performer credits are known; owned by Vogue, which is a French company and by Everest, which is an American record company; originally available on the French LP, Musique D' Afrique Occidentale, Vogue LVLX 193; later issued on Anthology of Music of Black Africa, Everest SDBR 3254, 3LP set; available as African Tribal Music and Dance: Music of the Malinke; Music of the Baoule and Others, Tradition: 2223, AC; or African Tribal Music and Dances, Legacy International: CD 328, CD.

B.

"One Day" (30 second excerpt); performed by the Angelic Gospel Singers, Dixie Hummingbirds and a pianist; recorded December 1951; matrix CO 47588; original release Okeh 6858; reissued on disc 2, track 1 of The Gospel Sound, Columbia: C2X 57160, 2CD set.

C.

One O'Clock Jump" (30 second excerpt); composed and performed by Count Basie; recorded January 21, 1942; matrix CO 32274; original release Okeh 6634; owned by Columbia; trumpets: Harry Edison, Al Kilian, Buck Clayton, Ed Lewis; trombones: Robert Scott, Eli Robertson, Dicky Wells; saxes: Earl Warren, Tab Smith, Buddy Tate, Don Byas, Jack Washington; rhythm section: Count Basie, Freddy Green, Walter Page, Jo Jones.

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D.

"Birdland" (30 second excerpt); composed by Josef Zawinul; recorded in 1977 in North Hollywood, California; performed by Josef Zawinul, Wayne Shorter, Jaco Pastorius, Alex Acuna & Manolo Badrena; first issue on Weather Report, Heavy Weather, Columbia: 34418.

3.

"Dixie Jazz Band One-Step" (2:35); performed by The Original Dixieland Jazz Band: Nick LaRocca (cornet), Larry Shields (clarinet), Eddie Edwards (trombone), Henry Ragas (piano); February 26, 1917; matrix B-19332-3; clearances: ASCAP, Victor.

4.

"Wolverine Blues" (3:21); composer: Jelly Roll Morton; publisher clearances: ASCAP; recorded for Victor in Chicago, June 10, 1927; performed by Jelly Roll Morton (piano), Johnny Dodds (clarinet), Baby Dodds (drums); “X” LVA-3028; matrix 38663-2; issued as Victor 26731; owned by RCA. also on Prentice Hall Jazz Collection CD

5

"Singin’ The Blues" (2:58); composer: J.R. Robinson & Conrad; recorded February 4, 1927 in New York; performed by Frankie Trumbauer (C-melody sax), Bix Beiderbecke (cornet), Bill Rank (trombone), Jimmy Dorsey (clarinet), Paul Mertz (piano), Eddie Lang (guitar), Chauncey Morehouse (drums); matrix W80393-B; issued as Okeh 40772; owned by SONY.

6.

"West End Blues" (3:16); recorded June 6, 1928; composed by Joe Oliver and Clarence Williams; performed by Louis Armstrong, Earl Hines, Fred Robinson, Jimmy Strong, Mancy Cara and Zutty Singleton; originally issued by Okeh, owned by Columbia; matrix number 400967B.

7

"Hotter Than That" (2:58); composer Lil Hardin; recorded in 1927 for Okeh by Louis Armstrong (trumpet and vocal), Johnny Dodds (clarinet), Kid Ory (trombone), Lil Hardin (piano), Johnny St. Cyr (banjo) and Lonnie Johnson (guitar); reissued on The Complete Hot Fives and Hot Seven Recordings Vol. 3. Columbia/Legacy: 87011, c2003.

8.

"Handful of Keys" (2:43); composer and pianist Fats Waller; recorded in 1929 for Victor; reissued on Fats Waller Piano Solos: Turn on the Heat. RCA Bluebird: 2482, 2CD set, c1991.

9.

"You've Got to Be Modernistic" (3:10); recorded January 21, 1930; composed and performed as piano solo by James P. Johnson; Brunswick 4762; matrix E-31958; owned by MCA.

10.

"Walkin' and Swingin'" (2:38); composer Mary Lou Williams; recorded 1936 in NYC by Andy Kirk and His Twelve Clouds of Joy featuring Mary Lou Williams for Decca; reissued on Andy Kirk & Mary Lou Williams: Mary’s Idea. Decca Jazz: 622, c1993

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11.

"Seven Come Eleven" (2:46); composer Benny Goodman & Charlie Christian; recorded November 22, 1939, New York, matrix WCO 26286054606-1; owned by RCA. Performed by Benny Goodman (clarinet), Charlie Christian (guitar), Lionel Hampton (vibraphone), Fletcher Henderson (piano), Artie Bernstein (bass), Nick Fatool (drums).

12.

"After You’ve Gone" (2:38); composer: Creamer & Layton; publisher clearances: ASCAP; recorded for Okeh May 8, 1941 in New York; performed by Roy Eldridge (trumpet), Gene Krupa (drums), Norman Murphy, Graham Young, Torg Halten (trumpets), John Grassi, Babe Wagner, Jay Kelliher (trombones), Clint Neagley, Musky Ruffo (alto saxes), Sam Musiker (clarinet, tenor sax), Walter Bates (tenor sax); Bob Curtis (piano), Ray Biondi (guitar), Buddy Bastien (bass); matrix CO 30605-2; owned by SONY.

13.

"How Deep is the Ocean?" (3:18); composed by Irving Berlin; recorded on December 8, 1943 for Signature by Coleman Hawkins (tenor sax), Al Casey (guitar), Ellis Larkins (piano), Oscar Pettiford (bass), and Shelly Manne (drums).

14.

"Voodte" (excerpt; 1:50); composed by Coleman Hawkins; recorded 1943 for Signature by Coleman Hawkins, Al Casey (guitar), Ellis Larkins (piano), Oscar Pettiford (bass), and Shelly Manne (drums); Bill Coleman (trumpet) and Andy Fitzgerald (sax and clarinet); reissued on Classic Tenors (Signature/CBS: 38446, c1989).

15.

“Cottontail” (97 seconds) Ella Fitzgerald and Duke Ellington Orchestra recorded October 19, 1965 in Los Angeles; first issued on Ella at Duke’s Place (Verve 4070). Featuring Paul Gonsalves and Jimmy Hamilton on tenor saxophones, John Lamb on bass, and Louis Bellson on drums.

16.

"Cottontail" (3:08); composer: Duke Ellington; publisher clearances: ASCAP; recorded May 4, 1940 in Hollywood, California; trumpets: Wallace Jones, Cootie Williams, Rex Stewart; trombones: Joe Nanton, Lawrence Brown, Juan Tizol; saxophones: Barney Bigard, Otto Hardwicke, Johnny Hodges, Ben Webster, Harry Carney; rhythm section: Ellington (piano), Freddy Guy (guitar), Jimmy Blanton (bass), Sonny Greer (drums); matrix 049655-1; issued as Victor 26610; owned by RCA.

17.

"Prelude to a Kiss" (4:38); composed by Duke Ellington; recorded October 1, 1957; featuring Johnny Hodges (alto sax); Ellington band with Duke Ellington (piano), Jimmy Woode (bass), Sam Woodyard (drums); matrix CO59897; first issued on Ellington Indigos, Columbia CL 1085.

18.

"Harlem Airshaft" (2:57); composer: Duke Ellington; publisher clearances: ASCAP; recorded July 22, 1940 in New York; performed by same musicians as "Cottontail"; matrix 054606-1; issued as Victor 26731; owned by RCA.

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19.

"Transblucency" (2:58); composed by Lawrence Brown and Duke Ellington; licensed by ASCAP; recorded July 9, 1946 by Kay Davis (vocal), Jimmy Hamilton (clarinet), Lawrence Brown (muted trombone), Duke Ellington (piano), Oscar Pettiford (bass); saxophones (one chorus only): Russell Procope, Johnny Hodges, Al Sears, Harry Carney; matrix D6VB2095; owned by RCA.

20.

"Taxi War Dance" (2:47); composed by Count Basie and Lester Young on the chord progression of "Willow Weep for Me"; arranged by Buck Clayton; recorded March 19, 1939; performed by trumpets: Buck Clayton, Shad Collins, Harry Edison, Ed Lewis; trombones: Dan Minor, Benny Morton, Dicky Wells; saxes: Earl Warren, Jack Washington, Buddy Tate, Lester Young; Count Basie (piano), Freddie Green (guitar), Walter Page (bass), Jo Jones (drums); originally issued as Vocalion 4748 (matrix 24242-1); owned by SONY.

21.

"Lester Leaps In" (3:13); composed by Lester Young; recorded for Okeh September 5, 1939 by Lester Young, Count Basie, Freddie Green, Walter Page, Jo Jones.

22.

"Shaw 'Nuff" (2:56); composed by Dizzy Gillespie and Charlie Parker; recorded May 11, 1945 by Dizzy Gillespie, Charlie Parker, Al Haig, Curley Russell & Sid Catlett; first issued on Guild 1002 (matrix 566); owned by Universal.

23.

"Things to Come" (2:45); composer: Gil Fuller; publisher clearances: ASCAP; recorded for Musicraft on July 9, 1946 in New York; performed by Dizzy Gillespie, Dave Burns,Raymond Orr, Talib Daawood, John Lynch (trumpets), Alton Moore, Leon Cormenge, Gordon Thomas (trombones), Howard Johnson, Lucky Warren, Ray Abrams, John Brown, Saul Moore (saxes), John Lewis, (piano), Ray Brown (bass), Kenny Clarke (drums); matrix 5611; issued as Musicraft 447; owned by Universal.

24.

"Four Brothers" (3:16); composed by Jimmy Giuffre; licensed by ASCAP; recorded December 27, 1947 in Los Angeles by Woody Herman band; owned by Columbia; Woody Herman (clarinet); trumpets: Ernie Royal, Bernie Glow, Stan Fishelson, Shorty Rogers, Marky Markowitz; trombones: Earl Swope, Ollie Wilson, Bob Swift; saxes: Herbie Steward, Zoot Sims, Stan Getz, Serge Chaloff; Fred Otis (piano), Gene Sargent (guitar), Walt Yoder (bass), Don Lamond (drums); matrix HCO.3061-1; first issued as Columbia 38304. also on Prentice Hall Jazz Collection CD

25.

"Misterioso" (3:18); composer: Thelonious Monk; recorded July 2, 1948 in New York; performed by Milt Jackson (vibraphone), Thelonious Monk (piano), John Simmons (bass), Shadow Wilson (drums); matrix BN 329.

26.

"Just Friends" (3:30); composed by John Klenner and Sam Lewis; recorded November 30, 1949 for Norman Granz by Charlie Parker (alto sax), Stan Freeman (piano), Ray Brown (bass), Buddy Rich (drums), three violins, viola, 102

cello, harp, and oboe (Mitch Miller); reissued on Parker, Confirmation: Best of the Verve Years. (Verve: 527 815, c1995). 27.

"Body and Soul" (3:42); composed by Johnny Green; recorded in 1978 by Sarah Vaughan (vocal) and Ray Brown (bass); first issued on How Long Has This Been Going On? (Pablo: 2310-821, c1987). CD 2

1.

"No Figs" (2:51); recorded by the Metronome All-Stars; composed and arranged by Lennie Tristano, conducted by Pete Rugolo; clearances: BMI; recorded January 10, 1950 by Kai Winding (trombone), Buddy DeFranco (clarinet), Lee Konitz (alto sax), Stan Getz (tenor sax), Serge Chaloff (baritone sax), Billy Bauer (guitar), Lennie Tristano (piano), Eddie Safranski (bass), Max Roach (drums); Columbia 38734; matrix CO 42630-1. This is an edited version. The original additionally has a Dizzy Gillespie solo and a second Getz solo.

2.

"My Lady" (3:19); composer: Bill Russo; recorded September 15, 1952 in Chicago; performed by Buddy Childers, Maynard Ferguson, Conte Candoli, Ruben McFall, Don Dennis (trumpets), Bob Burgess, Frank Rosolino, Keith Moon, Bill Russo (trombones), Lee Konitz, Vinnie Dean (alto saxes), Bill Holman, Richie Kamuca (tenor saxes), Bob Gioga (baritone sax), Stan Kenton (piano), Sal Salvador (guitar), Don Bagley (bass), Stan Levey (drums); originally available on New Concepts of Artistry in Rhythm (Capitol T 383).

3.

"A Trumpet" (4:46); composer: Robert Graettinger; recorded on February 11, 1953 for Capitol by Stan Kenton band featuring Maynard Ferguson (trumpet); (five saxophones, five trumpets, five trombones, guitar, bass, and drums); reissued on City of Glass (Capitol: 32084, c1995).

4.

"Blue Rondo ala Turk" (6:44); composed by Dave Brubeck; recorded in New York by Paul Desmond (alto sax), Dave Brubeck (piano), Gene Wright (bass), and Joe Morello (drums), August 18, 1959; issued on CD as Time Out (Columbia: 65122).

5.

"Senor Blues" (7:00); composer: Horace Silver; recorded November 10, 1956 in Hackensack, NJ; performed by Hank Mobley (tenor sax), Donald Byrd (trumpet), Horace Silver (piano), Doug Watkins (bass), Louis Hayes (drums); originally issued on Six Pieces of Silver (Blue Note 1539).

6.

"Kiss and Run" (7:28) composed by Sam Coslow; recorded on March 22, 1956 for Prestige by Sonny Rollins (tenor saxophone), Clifford Brown (trumpet), Richie Powell (piano), George Morrow (bass), and Max Roach (drums); reissued on Rollins, Sonny Rollins Plus 4. (Fantasy: OJC-243 (Prestige 7038), c1987).

7.

"Cranky Spanky" (4:48); composer: Bill Hardman; recorded 1957 in New York; 103

performed by Jackie McLean (alto sax), Bill Hardman (trumpet), Sam Dockery (piano), Spanky DeBrest (bass), Art Blakey (drums); originally issued on Hard Bop (Columbia 1040). 8.

"Maiden Voyage" (7:53); composed by Herbie Hancock; recorded March 17, 1965 in New York; performed by Freddie Hubbard (trumpet), George Coleman (tenor sax), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums); first issued on Maiden Voyage (recently available on CD as Blue Note 7243 4 95331)

9.

"Flamenco Sketches" (9:25); recorded by Miles Davis (trumpet), Cannonball Adderley (alto sax), John Coltrane (tenor sax), Bill Evans (piano), Paul Chambers (bass), and Jimmy Cobb (drums), April 22, 1959; first issued on Miles Davis, Kind of Blue, Columbia: PC 8163; side 2, track 2.

10.

"Masqualero" (8:53); performed by Miles Davis (trumpet), Wayne Shorter (tenor sax), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums); May 17, 1967; composer: Wayne Shorter; licensing: BMI; issued on Miles Davis, Sorcerer, side 1, track 3 (Columbia CS 9532).

11.

"Afro-Blue" (7:41); composed by Mongo Santamaria; performed by John Coltrane, McCoy Tyner, Jimmy Garrison & Elvin Jones; recorded November 2,1963 in Berlin; owned by Pablo; originally issued on John Coltrane, Afro-Blue Impressions(Pablo 7PACD-44332).

12.

"Civilization Day" (6:03); composed by Ornette Coleman; recorded September 9, 1971 in New York; performed by Ornette Coleman (alto saxophone), Don Cherry (pocket trumpet), Charlie Haden (bass), Billy Higgins (drums); first issued on Science Fiction (recently available on CD as Columbia C2K 63569); licensed by ASCAP.

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CD3 1. “Fables of Faubus” (8:10); composed by Charles Mingus; recorded in New York, May 5, 1959; performed by John Handy, Shafi Hadi & Booker Ervin (saxes), Jimmy Knepper (trombone), Horace Parlan (piano), Charles Mingus (bass), Dannie Richmond (drums); originally issued on Mingus Ah Um (Columbia CL 1370/CS8171). 2. "Ghosts: First Variation" (5:01); composed by Albert Ayler; recorded July 10, 1964 in New York; performed by Albert Ayler (tenor saxophone), Gary Peacock (bass), Sunny Murray (drums); first issued on Spiritual Unity (ESP Disk 1002M) licensed by ASCAP. 3. "Solar" (8:52); composer: Chuck Wayne, (though wrongly credited to Miles Davis); publisher: Prestige Music; licensing: BMI; performed by Bill Evans (piano), Scott LaFaro (bass), Paul Motian (drums); owned by Fantasy Records; originally issued on Bill Evans, Sunday at the Village Vanguard (Riverside: RLP12-376). 4

"Steps" (5:02); recorded June 1968; composer: Chick Corea; publisher: Litha Music; licensing: ASCAP; originally issued as Chick Corea, Now He Sings, Now He Sobs, Solid State: 18039; currently owned by Liberty Records (Transamerica); performers: Chick Corea (piano), Miroslav Vitous (bass), Roy Haynes (drums).

5. "Sundial Part 1"(8:54) composed and performed by Keith Jarrett; recorded 1976; Staircase (ECM 1090/91) 6. "Surucucù" (first 4:10 only); recorded January 13, 1972 in Shibuya Kokaido Hall, Tokyo, Japan; composer: Wayne Shorter; licensing: BMI; performed by Weather Report (Joseph Zawinul, Wayne Shorter, Miroslav Vitous, Eric Gravatt & Dom Um Romao); originally issued on Weather Report, I Sing the Body Electric, Columbia: KC 31352. 7. "Chameleon" (final 7 minutes only); composed by Paul Jackson, Bill Summers, Bennie Maupin, Harvey Mason & Herbie Hancock; recorded 1974 in San Francisco; performed by Herbie Hancock (keyboards), Bennie Maupin (tenor sax), Paul Jackson (bass guitar), Harvey Mason (drums), Bill Summers (conga drum); originally issued on Head Hunters, Columbia: CK 65123. 8. "Above and Below" (7:05); composed by Randy Brecker; recorded in 1992 by Randy Brecker (trumpet), Michael Brecker (tenor saxophone), Mike Stern (guitar), George Whitty (keyboards), James Genus (bass), Dennis Charles (drums), Bashiri Johnson (conga drum); Return of the Brecker Brothers (GRP: 9684, c1992). 105

9. "Red Emma" (4:55); composed by Dave Douglas; recorded December 21, 1993 by Dave Douglas (trumpet), Brad Shepik (guitar) and Jim Black (drums); The Tiny Bell Trio (Songlines: 1504, c1994). 10. "Miami" (5:34); composed by J. Marquez; recorded July 1982 by Paquito D'Rivera (alto saxophone), Jorge Dalto (piano), Jeff Fuller (bass), Ignacio Berroa (drums), Daniel Ponce (percussion); Mariel (Columbia: 38177, c1982). 11. "Express Crossing" (5:11); composed by Wynton Marsalis; recorded in 1993 featuring Wynton Marsalis (trumpet) and Kent Jordan (piccolo); Jazz: Six Syncopated Movements (Columbia: CK 66379). 12. "Baseball" (7:46); composed by Carla Bley; recorded in 1999 in Oslo, Norway for Watt by Lew Soloff (trumpet), Wolfgang Puschnig (alto saxophone), Andy Shepard (tenor saxophone), Gary Valente (trombone), Larry Goldings (organ), Carla Bley (piano), Steve Swallow (bass), and Victor Lewis (drums); 4x4 (Watt/ECM: 30, 1999, c2000); reissued on Bley, Rarum XV Selected Recordings (ECM B 0001795, c2004).

Contents for Jazz Classics 2CD set for Concise Guide to Jazz, 7e (ISBN 0-205-93738-7) Available in combination packages: with book (ISBN 0-205-95902-4) with book and Demo CD (ISBN 0-205-94085-4)

The following designations are included for the convenience of instructors who already own previous editions of the Jazz Classics CD for Concise Guide to Jazz. * = on Jazz Classics CD for Concise Guide to Jazz, editions 3 & 4 ** = substitution for item on editions 3 & 4 Jazz Classics CD for Concise Guide to Jazz *** = new item, only on Edition 5 **** = new item, only on Edition 6 ***** = substitution for item on Edition 6 CD1 (79 minutes) *1. Dixie Jazz Band One-Step (Original Dixieland Jazz Band) 1917; 2:35 *** 2. Alligator Hop (King Oliver’s Creole Jazz Band: Joe Oliver & Louis Armstrong on cornets, Johnny Dodds on clarinet, Stump Evans on C-Melody saxophone, Johnny St. Cyr on banjo, Lil Hardin on piano, Baby Dodds on drums); originally on Gennett, reissued on Louis Armstrong and King Oliver (Milestone MCD- 47017-2) October 5, 1923; 2:22 * 3. West End Blues (Louis Armstrong) recorded June 6, 1928; composed by Joe Oliver and Clarence Williams; performed by Louis Armstrong, Earl Hines, Fred Robinson, 106

Jimmy Strong, Mancy Cara and Zutty Singleton; originally issued by Okeh, owned by Columbia; matrix number 400967B; 3:13 ***4. Riverboat Shuffle (Frankie Trumbauer, C-Melody sax, Bix Beiderbecke, cornet, Bill Rank, trombone, Don Murray, clarinet, Irving Riskin, piano, Eddie Lang, guitar, Chauncey Morehouse, drums). Recorded for Okeh, 40822 Mx W81072-B; (reissued many times on Columbia, remastered for Smithsonian Collection of Classic Jazz-Revised, disc 1, track 21, by Sony Music Special Products); February 1927; 3:07 ** 5. Reckless Blues (Bessie Smith, Fred Longshaw on harmonium, Louis Armstrong on cornet); Columbia 14056-D. Mx 140242-1; (excerpted on Leonard Bernstein’s What Is Jazz?), January 14, 1925; 3:01 ***6. Sittin’ In (Roy Eldridge, Chu Berry, Clyde Hart, Danny Barker, Artie Bernstein, Sid Catlett) November 10, 1938; Commodore. 2:13 *7. Body and Soul (Coleman Hawkins-tenor sax, Gene Rogers-piano, Oscar Smith-bass, Arthur Herbert-drums) BS-042936; October 11, 1939; 3:02 *8. Taxi War Dance (Count Basie, Lester Young) 1939; 2:49 *9. Harlem Airshaft (Duke Ellington) 1940; 2:57 *10. I’ve Got It Bad and That Ain’t Good (Johnny Hodges with Duke Ellington band minus Ellington, piano by Jimmy Jones; arrangement by Billy Strayhorn) originally issued on Verve V6-8452; December 11, 1961; 3:35 *11. Back in Your Own Back Yard (Billie Holiday, Lester Young, Buck Clayton) 1939; 2:39 ***12. Flying Home (Ella Fitzgerald); originally issued on a single as Decca 23956; reissued on Masters of Jazz: Female Vocal Classics, Rhino R2 72472; October 4, 1945; 2:27 * 13. Tiger Rag (Art Tatum-piano) Brunswick 6543; Mx B13164A; March 21, 1933; 2:18 ****14. Walkin' and Swingin' (Andy Kirk Band featuring Mary Lou Williams and Dick Wilson) 1936 in NYC for Decca; three trumpets, one trombone, two alto saxophones, one tenor saxophone, piano (Williams), guitar, bass, and drums; reissued on Andy Kirk & Mary Lou Williams: Mary’s Idea. (Decca Jazz: 622, c1993). **15. Parker’s Mood (Charlie Parker, John Lewis, Curly Russell, Max Roach); reissued on CD as The Complete Savoy and Dial Studio Sessions, Savoy Jazz 92911; September 18, 1948; 3:00 *16. Leap Frog (Charlie Parker, Dizzy Gillespie) reissued on Bird ‘n’ Diz (Verve 314 521 436); 1950; 2:29 ***17. Get Happy (Bud Powell, Curley Russell, Max Roach); reissued in The Complete Bud Powell on Verve (Verve 314 521 669-2); February, 1950; 2:52 **18. Index (Dexter Gordon, Fats Navarro, Tadd Dameron, Nelson Boyd, Art Mardigan) reissued on CD as Timeless Dexter Gordon (Savoy Jazz 17161); December 22, 1947; 3:04 ***19. It Never Entered My Mind (Stan Getz); from Stan Getz and J.J. Johnson at the Opera House; recorded at Los Angeles Shrine Auditorium in mono, originally available on LP as Stan Getz & J.J. Johnson at the Opera House, Verve MG V-8265, recently available on CD as Verve 831-272-2 (not to be confused with a 3’ 30” stereo version recorded at Chicago Opera House) October 25, 1957; 3:45 *20. Subconscious-Lee (Lennie Tristano, Lee Konitz) Prestige. January 11, 1949; 2:46 107

***21. Improvisation (Stan Kenton, Lee Konitz); from New Concepts in Artistry in Rhythm (Capitol, reissued on The Complete Bill Russo/Bill Holman Charts; Mosaic MD4-136, Disc 1, track 11; 1953 6:20 ***22. The Egyptian (Art Blakey, Wayne Shorter, Lee Morgan, Curtis Fuller); from Indestructible (Blue Note 8091); 1964; 10:20 *23. Two Bass Hit (Cannonball Adderley, John Coltrane); from Miles Davis, Milestones (Columbia CK 40837); 1958; 5:13

Concise Guide to Jazz CD2 (79 minutes) ***1. Gregory Is Here (Horace Silver, Michael Brecker); from In Pursuit of the 27th Man (Blue Note 35758); November 10, 1972; 6:18 *21. Blue in Green (Miles Davis, Bill Evans, John Coltrane); from Kind of Blue, 1959; 5:25 **3. Get Happy (J.J. Johnson, Clifford Brown, Jimmy Heath, John Lewis, Percy Heath, Kenny Clarke); reissued on The Eminent J.J. Johnson, Vol. 1 (Blue Note 32143). Note: This appeared on the Jazz Classics CD for Concise Guide to Jazz, First Edition, before Blue Note denied clearances for its inclusion on the Jazz Classics CD for Second Edition; 1953; 4:50 ***4. Mr. Walker (Wes Montgomery, Tommy Flanagan, Percy Heath, Jimmy Heath); from The Incredible Jazz Guitar of Wes Montgomery (Riverside 9320, reissued on CD as Fantasy OJCCD-036); January 26, 1960; 4:33 *5. Dee-Dee (excerpt) (Ornette Coleman); At The Golden Circle (Blue Note 7243 5 35518); 1965 5:40 *6. Your Lady (John Coltrane); from Live at Birdland (Impulse MCAD 33109) 1963; 6:37 *****7. Jitney #2 (Cecil Taylor); from Silent Tongues (Arista); 1974 *8. Solar (Bill Evans, Scott LaFaro, Paul Motian); from Sunday at the Village Vanguard, Riverside. 1961; 8:57 ***9. Prince of Darkness (Miles Davis, Wayne Shorter, Herbie Hancock) from Miles Davis, Sorcerer on Columbia; 1967; 6:27 *10. Birdland (Weather Report); Heavy Weather (Columbia: 34418); composed by Josef Zawinul; performed by Josef Zawinul, Wayne Shorter, Jaco Pastorius, Alex Acuna & Manolo Badrena; 1977; 5:57 *****11. Spanish Key (Miles Davis) from Black Beauty: Miles Davis at the Fillmore West (SONY) 1970; 4:52 Miles Davis-trumpet, Chick Corea-piano, Dave Holland-bass, Airto Moreira-percussion, Jack DeJohnette-drums ***12. The Wind-Up (Keith Jarrett-piano, Jan Garbarek-soprano sax); composed by Keith Jarrett from Belonging (ECM 829 115); 1974; 8:26 ****13. Baseball composed by Carla Bley (Carla Bley Band featuring Larry Goldings and Gary Valente) 4x4 Watt/ECM: 30, 1999, c2000); reissued on Bley, rarum xv Selected Recordings (ECM B 0001795, c2004).

108

TEACHING THE ORIGINS OF JAZZ: ISSUES, BIBLIOGRAPHIES AND DISCOGRAPHIES Teaching the origins of jazz presents several problems for the instructor in a course devoted to American music or jazz. First of all, to do justice to African music alone requires at least a semester-long, ethnomusicologically-oriented course. To do justice to ragtime, blues or blackface minstrel traditions also requires far more than a week-long slice. In other words, to do the topic justice requires far more time than most semesters provide, especially if a substantial portion of the semester is allocated to teaching listening skills and part of the semester introduces recent styles of jazz. A second problem is that no one knows how jazz originated, and this means that teachers are speculating in public whenever they lecture on the origins of jazz. Third is the problem that, though many of us assume jazz to have African roots, we can find little or no jazz that sounds like any African music available. A brief, but effective solution is available in the listening guide and accompanying recordings at the end of the Chapter 4: “Origins of Jazz” in the Jazz Styles textbook (tracks 3-6 of the accompanying Jazz Classics CD1). All the recordings in that sequence prominently exhibit the kind of rhythmic groove that is called "swinging" (or, as Duke Ellington defined it, "a lilting buoyant feeling"). All of them also use considerable syncopation, extensive repetition of brief patterns, and overlapping call-and-response format. One solution to these problems is to skip the origins of jazz and devote your semester to developing listening skills and to introducing jazz styles instead. A less extreme solution is, first, to tell students that jazz has roots in ragtime, blues, work songs, marches, and nineteenth century dance music; second, tell them that we do not know what weights to attach to any of those likely sources; and finally, go directly into your coverage of New Orleans and Chicago styles of jazz. This is precisely what I did in the 1978 edition of Jazz Styles, modeled on ten years of teaching "History and Styles of Jazz" to non-musicians at Case Western Reserve University. However, the most popular solution is to play brief examples for each of these sources, then move directly to early jazz. But the connections between jazz and such "roots" might not be apparent to your students if you approach the problem that way. That catch is one reason behind the element-by-element format used in Chapter 4 of Jazz Styles. There is still another catch: the rarity of recorded examples to illustrate the points you will want to make. So, because of this, what follows is a guide through currently-available source materials that are appropriate for illustrating and researching the origins of jazz. No one knows exactly how jazz originated. But we can find clues by comparing the characteristics of the earliest jazz with characteristics of other kinds of music that existed near the same time and place as the earliest jazz. Throughout this discussion, however, we must remember that similarity alone is not sufficient to prove a cause and effect relationship. In fact, it is dangerous to reason that whatever two styles have in common indicates the influence that one style had upon another. A few examples should make this more clear. Call and response format is common in European music and in African music, though it is found somewhat more often in African music. Therefore, instances of call and response format in jazz should not be assumed to reflect African 109

influence, even if jazz musicians have African ancestry. Here is another example. Just because both jazz and African music are highly syncopated does not necessarily prove that African music influenced jazz. There is syncopation in European music, too, though it is less prominent than it is in jazz and African music. Jazz has several characteristics in common with African music. Both kinds of music are 1.

highly percussive, even in the manner of playing wind instruments

2.

filled with a wide range of rough and colorful timbres;

3.

characterized by much rhythmic variety in terms of off-beat accents, the simultaneous presence of contrasting rhythms, displacement of phrase structures, syncopations, multimeters, and polyrhythms;

4.

characterized by pitch flexibility deviating from well-tempered intonation;

5.

improvised, at least somewhat;

6.

dependent upon short-term repetition and brief, cyclic forms;

7.

capable of eliciting a rhythmic feeling ("groove") in the listener that is distinctive and frequently identified with jazz and African music.

All these similarities are evident in the examples on the "African-American Retentions Sequence" (tracks 3-6 of Jazz Classics CD1 that accompany the Jazz Styles textbook). But none of these similarities necessarily proves African roots for jazz. Mere similarity is not sufficient for proving cause. A nagging problem that pervades our search for the roots of jazz is that the almost continuous back and forth borrowing of characteristics and repertory that exists within the evolution of American musical styles makes it impossible to determine the relative strength of influence exerted by any given source and to assign proper credit to the primary innovations. For instance, with respect to Negro spirituals, trying to distinguish the relative contributions of European hymns from those of African repertory and singing practices continues to puzzle historians (see readings list for references concerned with spirituals). Another problem that plagues our quest for the origins of jazz is that the term “jazz” has a narrower meaning today than it had during the 1920s. Before we can say how jazz originated, we must say what jazz is and when there first was music that qualifies by that definition. If, as some do, we use “jazz” to designate almost all its roots (ragtime, blues, etc.), then the question arises what qualifies some music for the "roots" category and other music for the "jazz" category? An illustration will make this problem clearer. For the sake of argument, let's define jazz as highly syncopated American music 110

that is improvised, and let's define improvisation as spontaneously composing fresh melody lines during each performance. By those constraints, then it would follow that much New Orleans combo music recorded between 1917 and 1927 is not jazz because it was worked out in advance, with little spontaneous variation from performance to performance. (Alternate renditions, by the same musicians, of the "Dixie Jazz Band One-Step" and "You've Got to Be Modernistic" differ only slightly from the versions heard on the Jazz Classics CD1 that accompanies the Jazz Styles textbook.) Much 1917-1924 music sounds spontaneous, though such an impression is deceiving, and this is clearly a credit to the skills of those pioneers. The impression of spontaneity has been prized in jazz as one component of its spirited nature. However, it is problematic to apply such a definition here because, knowing that only toward the late 1920s did much syncopated American music exhibit improvisation in this sense of the term, we might no longer be justified in saying jazz originated in New Orleans. We would be forced to say that jazz did not begin until at least the mid-1920s, and then, only within the playing of a few musicians. And our search for the roots of jazz improvisation would be expanded beyond New Orleans. We also must recognize that, not only at the time the first jazz was described, but recently, too, musicians have referred to ragtime and jazz just as ways of playing music rather than identifiable bodies of music themselves. To "jazz it" was to vary the rhythms of a piece and make it sound more lively and make the pitches and timbres more flexible. In other words, then, as today, "how you play" was the key to extracting the peculiar feeling we associate with jazz. Almost any type of music--polkas, marches, ballads--could be altered in performance to sound more lively and swinging. Jazz performance practice reflects a departure from accepted ways of playing professional dance music and allows greater latitude for individuality of performance, though we still cannot tell whether this reflects African tradition or a combination of traditions that existed in folk music and popular music of Italian, German, Irish, as well as, African background. (The answer might be "none of the above.") Among turn-of-the-century New Orleans musicians, the improvisational creativity of the players was directed at piecing together ensemble routines that were effective. Some routines were spontaneously devised during performances, thereby qualifying as improvised, though they were repeated from memory thereafter. Commercially published stock arrangements often provided the basis for band routines, but the players may have done much without referring to written scores. However, the absence of notation should not be taken as evidence of improvisation any more than we would consider "improvised" the music of today's wedding bands and lounge acts that sometimes play fresh routines and do so without notation. At this point, it is relevant to mention how common the practice of reading music was. Karl Koenig's research has shown that most of the early New Orleans jazz musicians could read music. Some could not read music, however, and most chose not to read pieces once they had been learned. There is no question that at one time, and perhaps for the first few run-throughs in the early jazz combo pieces, many of the parts were not fixed. Trombone counterlines, clarinet obbligatos, trumpet variations of the melody were 111

invented and performed spontaneously. Accompaniments were improvised and varied by the more adventurous and creative of the players, but a striving for improvisation during that era was not as central to a jazz aesthetic as it has become, though there was a striving for personalization that did not necessarily require spontaneously devised parts. But after a suitable set of parts had been worked out, frequently the musicians remained relatively loyal to them. Much of this we have deciphered by comparing alternate takes of recorded jazz pieces such as the material of The Original Dixieland Jazz Band from 1917 to 1919 and the Joe Oliver band's "Dippermouth Blues," and by studying the evolution of routines used on such pieces as "Weather Bird" on successive recordings by Joe Oliver and Louis Armstrong. Some of these conclusions also stem from thinking about the requirements for the commercial situations these musicians found themselves in playing for dancers and for crowds who needed predictability and who wanted to hear the same material again and again in order to coordinate their movements. This resembles today's situation and the intolerance for improvisation from a public that wants music to sound just like the recorded version - as though to say, "too many surprises are no fun." But somehow these tendencies expanded by the late 1920s, and practices evolved into the extent of improvisation we ordinarily expect from most jazz today. Unfortunately, we will never know whether this occurred out of boredom with fixed routines, a need to learn new material without recourse to sheet music, a greater interest in bravura solo excursions, a continuation of European and/or African traditions for spontaneous alteration, or simply an unbridled creativity. Jazz originated in the blends of folk music, popular music and light classical music that were current near the beginning of the twentieth century, especially in New Orleans. Collections that are useful for illustrating these styles include (items are compact discs unless otherwise indicated): Come and Trip It: Instrumental Dance Music 1780-1920's. New World: 80293, c1978. Early Band Ragtime: Ragtime’s Biggest Hits, 1899-1909. Smithsonian/Folkways: RBF 38, c1979. Jazz. Vol. 1, The South. Smithsonian/Folkways: 2801, c1950. Jazz. Vol. 2, The Blues. Smithsonian/Folkways: 2802, 1923-48, c1956. Jazz: Some Beginnings. Smithsonian/Folkways: RF 31, 1914-26, c1977. Riverside History of Classic Jazz. Riverside/Fantasy: 005, 3CD set, ca. 1900-1956, c1994. [disc 1, track 2] The Sousa and Pryor Bands: Original Recordings, 1901-1926. New World: NW 282, LP, 1901-26, c1976. [out-of-print] Steppin' On the Gas: Rags to Jazz. New World: NW 269, LP, 1913-27, c1978. [out-of-print] [side 1 only] 112

That's My Rabbit, My Dog Caught It: Traditional Southern Instrumental Styles. New World: NW 226, LP, 1925-77, c1978. [out-of-print] Note: New World Records (Recorded Anthology of American Music) may be found in many college libraries; the Rockefeller Foundation donated sets to many educational institutions. Folkways records are in many music libraries. Americans with African ancestry are disproportionately represented throughout jazz history, and jazz shares several characteristics with African music. However, early jazz did not derive its similarities to African music directly from contact with African music. It acquired these tendencies through other music that had been devised itself by contact with African musical practices in the New World. For instance, some of the syncopation in jazz probably derived from music played during the 18th and 19th centuries on the banjo, an instrument invented in the New World by musicians who had African ancestry (see references list for Dena Epstein's article, "The Folk Banjo: A Documentary History"). This is because banjo music, in combination with European march music, influenced the formation of popular piano styles that by the 1890s were being called ragtime, which, in turn, influenced jazz. Listen to Ragtime (Folkways: RBF 38, c1979); and then listen for similarities in Louis Armstrong and King Oliver (Milestone: 47017, 1923-24, c1992). Bluesy approaches to pitch and timbre among jazz hornmen are not in direct imitation of African singing. The ornamentations in jazz hornwork might stem instead from imitation of wide-ranging, imaginative sounds found in New World vocal idioms such as Negro field hollers, work songs, cries of street vendors, and the blues [as exemplified on Street Cries and Creole Songs of New Orleans (Smithsonian/Folkways: 2202, c1956); Roots of the Blues (New World: 80252, 1959, c1981); Riverside History of Classic Jazz (Riverside/Fantasy: 005, 3CD set, c1994), disc 1, track 2; and African Journey: A Search for the Roots of the Blues (Sonet: SNTF 667 [Vanguard 73014/15], 1974)]. Listen to "Street Cries of Charleston" (Track 1 on Jazz Classics CD1 that accompanies the Jazz Styles textbook) and then to Miles Davis's instrumentalized version (Track 2 on Jazz Classics CD1 that accompanies the Jazz Styles textbook). African singing is far less varied in these respects than jazz horn work, and not all non-African folk music found in the New World is smooth and unvaried in its timbre. The sharp line drawn by Europeans between speech and lyric singing is less clear in much West African music. It is possible that a preference for rough, varied timbres was retained by African Americans in the New World, and it was manifested by the cultivation of rough and highly varied timbres in jazz. Listen to the male singer on "One Day" (Track 4 on Jazz Classics CD1 that accompanies the Jazz Styles textbook). Some of this was perpetuated in the hokum style used by minstrel show musicians and activated in novelty effects such as the imitation barnyard sounds heard on the Original Dixieland Band's 1917 recording of "Livery Stable Blues." Listen to the pitch bends of the clarinetist on "Dixie Jazz Band One-Step" (Track 7 on the Jazz Classics CD1 that accompanies the Jazz Styles textbook). The tendency to playfully vary the sounds of instruments might stem in part from African traditions, but similar musical traditions were also available as models in other ethnic 113

groups in New Orleans at the same time, for example, the Scotch-Irish, who had a tradition for pitch flexibility, leading to what we might identify as "blue notes" (see William Tallmadge's article "Blue Notes and Blue Tonality"). Therefore we cannot say that such practices reflect exclusively African American sources. Summary Sometimes we need to be reminded that jazz did not come from Africa. Only the ancestors of most of its originators did. Jazz originated in America, and, despite all the other areas of the world to which Africans have been moved, America is the only region in which jazz emerged. Note that jazz emerged only in our part of the New World and only where African practices were applied to a peculiar mix of non-African music. We must also remember that, as Karl Koenig has found in his research, about half the early New Orleans jazz musicians were white (though to be entirely accurate, by comparison with distribution in the population at large, blacks are over-represented as musicians). This means that jazz was not the exclusive province of African Americans, though at the same time this does not necessarily prove that both races were equally involved in its creation. (White musicians could have imitated black musicians and soon outnumbered them as players of an originally black style.) Intermingling of styles in America has resulted in fresh styles. Remember also that the earliest jazz did not sound like African music so much as it sounded like band ragtime, which was the pop music of the day. And only a portion of the earliest band repertories was blues. The bulk of most band repertories was pop music, show tunes, and well-known songs. The books, articles, recordings listed above and below constitute nowhere near an exhaustive listing. For a beginning, consult Donald Kennington, The Literature of Jazz: A Critical Guide, 2nd ed. rev. (American Library Association, 1980); and the bibliography at the end of The New Grove Dictionary of Jazz, 2nd ed. (Grove, 2001). Remember that, like textbook assignments, these readings will mean next to nothing unless you hear the music that they describe. Therefore the discography here is more valuable than the bibliography. Basic Texts on African Music (The most useful texts for a jazz appreciation course are listed first.) Nketia, J.H. Kwabena. The Music of Africa. Norton, 1974. Nketia, J.H. Kwabena and Jacqueline Coggell DjeDje, eds. Selected Reports in Ethnomusicology. Vol. 5, Studies in African Music. Los Angeles, CA: Program in Ethnomusicology, Department of Music, University of California, 1984. Bebey, Francis. African Music: A People's Art. L. Hill, 1975. Kebede, Ashenafi. Roots of Black Music: The Vocal, Instrumental, and Dance Heritage of Africa and Black America. Prentice-Hall, 1982; Africa World Press, 1995. Jones, A.M. Studies in African Music. Vols. 1 & 2. Oxford University Press, 1959, 1978. 114

Roberts, John Storm. Black Music of Two Worlds. 2nd ed. Schirmer, 1998. Accompanying compact discs: Black Music of Two Worlds, Smithsonian/Folkways: 4602, 3CD set, c1977. Oliver, Paul, et al. Yonder Come the Blues: The Evolution of a Genre. Cambridge, 2001. Reprints Savannah Syncopators: African Retentions in the Blues (Stein and Day, 1970) and two other books with added material. Accompanying 2-LP set: Savannah Syncopators, Columbia (UK): 52799. Chernoff, John Miller. African Rhythm and Sensibility: Aesthetics and Social Action in African Musical Idioms. Chicago: University of Chicago Press, 1979, 1981. With accompanying audio cassette examples. Gayle, Addison. The Black Aesthetic. Garden City, NY: Doubleday, 1971. Many important insights and much of the most solid research data never find their way into full-length textbooks. Much scholarly thinking and data gathering are available only in papers read at professional conferences, rewritten for professional journals. A few of such works are included below. If your library does not carry these journals, ask your reference librarian to request the article via inter-library loan. Frequently a copy can be sent to you for free or a small fee from a library that holds the journal you seek. Important Scholarly Papers About African Music (The most useful papers for a jazz appreciation course are listed first.) Waterman, Richard A. "Hot Rhythm in Negro Music." Journal of the American Musicological Society 1 (1948): 24-37. Based on a paper delivered December 28, 1943. . "African Influence On the Music of the Americas." In Anthropology and Art: Readings in Cross Cultural Aesthetics. Edited by Charlotte M. Otten, 227-44. University of Texas Press, 1976. Reprinted from Acculturation in the Americas: Proceedings and Selected Papers of the XXIX International Congress of Americanists, edited by Sol Tax, University of Chicago Press, 1952. Paper delivered in 1951. . "On Flogging A Dead Horse: Lessons Learned from the Africanisms Controversy." Ethnomusicology 7 (1963): 83-87. Evans, David. "African Elements in Twentieth Century United States Black Folk Music." In International Musicological Society, Report of the Twelfth Congress, Berkeley, 1977, 54-66. Barenreiter, 1981. Tallmadge, William. "Blue Notes and Blue Tonality." The Black Perspective in Music 12 (1984): 155-65. 115

Kaufman, Robert. "African Rhythm: A Reassessment" Ethnomusicology 24 (1980): 393-415. Epstein, Dena J. "The Folk Banjo." Ethnomusicology 19 (1975): 347-372. Gridley, Mark C., and Wallace Rave. "Towards Identification of African Traits in Early Jazz." The Black Perspective in Music 12 (1984): 44-56. Wilson, Olly. "The Significance of the Relationship Between Afro-American Music and West African Music." The Black Perspective in Music 2 (1974): 3-23. . "Black Music As An Art form." Black Music Research Journal (1983): 1-22. Note: Black Music Research Journal is published by Center for Black Music Research, Columbia College Chicago, 600 South Michigan Ave, Chicago, IL 60605-1996. Williams-Jones, Pearl. "Afro-American Gospel Music: A Crystallization of the Black Aesthetic." Ethnomusicology 19 (1975): 373-86 Jacobs, Claude. “Benevolent Societies of New Orleans Blacks During the Late Nineteenth and Early Twentieth Centuries.” In Louisiana History, Journal of the Louisiana Historical Association 29, no.1, 1988. Joyaux, George J. (Ed.) “Forest’s Voyage aux Etats-Unis de l’Amerique en 1831.” In Louisiana Historical Quarterly, vol. 39, No. 4, 1956. Latrobe, Benjamin Henry. Impressions Respecting New Orleans, Diaries Sketches 18181820. Edited by Sam Wilson, Jr. Columbia Univer. 1951 Logsdon, Joseph, and Arnold Hirsch (Ed.s). Creole New Orleans: Race and Americanization. Louisiana State Univ., 1992 Midlo-Hall, Gwendolyn. Africans in Colonial Louisiana: The Development of AfroCreole Culture in the Eighteenth Century. Louisiana State Univer. 1992 Floyd, Samuel A., Jr., and Martha J. Reisser. "The Sources and Resources of Classic Ragtime Music." Black Music Research Journal (1984): 22-59. See above address for Center for Black Music Research. Epstein, Dena. "Black Spirituals: Their Emergence Into Public Knowledge." Black Music Research Newsletter 8 (1986): 5-8. See above for address of Center for Black Music Research. Cronbach, Lee. "Structural Polytonality in Contemporary Afro-American Music." Black Music Research Journal 2 (1981-2): 15-33. 116

Koetting, James. "What Do We Know About African Rhythm?" Ethnomusicology 30 (1986): 58-63. Stone, Ruth. "The Value of Local Ideas in Understanding West African Rhythm." Ethnomusicology 30 (1986): 54-57.

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References for Early African American Culture and New Orleans (The most useful items for a jazz appreciation course are listed first.) Epstein, Dena. "A White Origin for the Black Spiritual? An Invalid Theory and How It Grew." American Music 1 (1983): 53-59. Lomax, Alan. Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and "Inventor of Jazz”. Duell, Sloan and Pearce, 1949; Univ. of California, 2001. Berlin, Edward A. Reflections and Research on Ragtime. I.S.A.M. Monographs, No. 24. Institute for Studies in American Music, Conservatory of Music, Brooklyn College, 1987. Garst, John F. "Mutual Reinforcement and the Origins of Spirituals." American 4 (1986): 390-406.

Music

Foster, George M. Pops Foster: The Autobiography of a New Orleans Jazzman as Told to Tom Stoppard. Univ. of California, 1971. Sealsfield, Charles. The Americans As They Are: Described In A Tour Through the Valley of the Mississippi. London, 1828. Schafer, William and Richard B. Allen. Brass Bands and New Orleans Jazz. Louisiana State Univer., 1977 Rightor, Henry (Ed.) Standard History of New Orleans, Louisiana. Lewis Publishing, Chicago, 1900. Shapiro, Nat, and Nat Hentoff (Ed.s). Hear Me Talkin' to Ya: The Story of Jazz by the Men Who Made It. Reinhart, 1955; Dover, 1966. Marquis, Donald M. In Search of Buddy Bolden: First Man of Jazz. Louisiana State Univ., 1978, 1993. Gushee, Lawrence. Pioneers of Jazz: The Story of the Creole Jazz Band. (Oxford University Press, 2004) Koenig, Karl. Jazz In Print (1856-1929): An Anthology of Selected Early Readings in Jazz History. Pendragon, 2002. Smith, Michael P. Mardi Gras Indians. Pelican Publishing, Gretna, LA, 1994. Smith, Michael. P. Spirit World: Pattern in the Expressive Folk Culture of AfricanAmerican New Orleans. Pelican Publishing, Gretna, LA, 1992

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Southern, Eileen. The Music of Black Americans: A History. 3rd ed. Norton, 1997. Sterkx, H. E, The Free Negro in Ante-Bellum Louisiana Fairleigh Dickinson Univ., 1971 Epstein, Dena J. Sinful Tunes and Spirituals: Black Folk Music to the Civil War. Univ. of Illinois, 1977, 2003. Blassingame, John W. The Slave Community: Plantation Life in the Antebellum South. rev. and enl. ed. Oxford, 1979. Koenig, Karl. "The Plantation Belt Brass Bands and Musicians." The Second Line 33 (1981): 24-40. Note: The Second Line is published at Suite 265, 828 Royal Street, New Orleans, LA 70116; TEL: 504-455-6847. . "Professor James B. Humphrey." The Second Line 34 (1982): 15-19. ."Chris Kelly, Blues King of New Orleans." The Second Line 35 (spring 1983): 4-26. ."Louisiana Brass Bands and History in Relation to Jazz History." The Second Line 35 (summer 1983): 7-15. ."John Philip Sousa's Impact on Jazz." The Second Line 35 (winter 1983): 39-41. ."Jack Laine 'Papa'." The Mississippi Rag (March 1984): 1-6. Note: The Mississippi Rag is published at 1401 W. 76th St. 250, Minneapolis, MN 55423-3846; TEL: 612-861-2446; FAX: 612-861-4621. Note: Informative summaries and bibliographies are included in H. Wiley Hitchcock and Stanley Sadie, eds., The New Grove Dictionary of American Music (Macmillan, 1986). See entries for New Orleans, Blues, Traditional Jazz, Spirituals, and Ragtime, as well as the entries for particular musicians.

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Album Liner Notes That Summarize Pre-Jazz and Early Jazz Research (Annotator's name is in parentheses.) (Items are compact discs unless otherwise stated.) The Riverside History of Classic Jazz. (Charles Edward Smith) Riverside/Fantasy: 005, 3CD set, 1956, c1994. The Roots of the Blues. (Alan Lomax) New World: 80252, c1977. Also see video by Lomax, The Land Where the Blues Began (Vestapol3078), from the American Patchwork series, available from Rounder as ISBN 1-88461-73-0, from 1 Camp Street, Cambridge, MA 02140 Steppin' on the Gas: Rags to Jazz 1913-1927. (Lawrence Gushee) New World: NW 269, LP, c1977. [out-of-print] Oliver, Joe "King." King Oliver's Jazz Band, 1923. (Lawrence Gushee) Smithsonian: 2001, 2LP set, 1923, c1975. [out-of-print] Keppard, Freddie. Legendary New Orleans Cornet. (Lawrence Gushee) Smithsonian: 2020, LP, 1924-1927, c1979. [out-of-print] Roots of Black Music in America. (Samuel Charters) Smithsonian/Folkways: 2694, 2CD set, c1972. Come and Trip It: Instrumental Dance Music 1780-1920's. (Thorton Hagert) New World: 80293, c1978. Georgia Sea Island Songs. (Alan Lomax) New World: 80278, c1977.

Sound Recordings to Aid in Understanding African Music Here is a brief compilation of available works that are relevant to connecting jazz and African music. It is far from definitive, but it could get you started if you need materials for an ethnomusicologically oriented course in jazz or African American music. In pursuing the items on this list, note that ordinary record stores and most mail order houses do not sell these records, but you can get them from specialty houses and importers. Frequently it is best to order directly from mail order services to obtain the French Ocora records, contact: Harmonia Mundi USA, 1117 Chestnut Street, Burbank, CA 91506; phone: 818-333-1500); www.harmoniamundi.com/HMboutique. If a large music library exists near you, it may be helpful to contact the reference librarian there for the names and addresses of dealers who service the library's ethnomusicology needs. Many of the best recordings of African music and pre-jazz have been out-of-print for ages and are not listed here, though you might find them in libraries. One that is 120

particularly worth seeking is Anthology of Music of Black Africa (Everest 3254/3, 2LP set), half of which was originally issued as Musique D' Afrique Occidentale (French Vogue LVLX 193), and currently available on compact disc: African Tribal Music and Dances (Legacy International: 328, 1952, c1993). Note: If you choose illustrations not listed here, keep in mind that the music of Africa is very diverse, and that music from West Africa is the most relevant for your purposes. Stick to Gambia, Senegal, Guinea, Ivory Coast, Ghana, and Nigeria. Otherwise, you risk generalizing from music that may have had little or no influence on jazz because the culture that produced it contributed few slaves to America. These records are all interesting, and most contain informative notes: Africa, South of the Sahara. Smithsonian/Folkways: 4503, 2CD set, c1957. [Compilation by Harold Courlander of numerous cultures, with richly detailed notes prepared by the eminent Africanist Alan P. Merriam; only some examples are from West Africa] Africa, the Dan. [Anthology of World Music]. Rounder: 5105 (Barenreiter Musicaphon BM 30 L 2301), 1966, c1998. [Recorded by Hugo Zemp; people of Ivory Coast and Liberia] African Journey: A Search for the Roots of the Blues. Sonet: SNTF 667 (Vanguard 73014/73015), 1974. [Compilation of various West African cultures visited by Samuel Charters and described in his travelogue: Charters, The Roots of the Blues: An African Search (Boston: M. Boyars, 1981; New York: DaCapo, 1991)] Black Music of Two Worlds. Smithsonian/Folkways: 4602, 3CD set, c1977. [Contains music of Ghana, Sierra Leone, Liberia, as well as music from many areas of the New World; accompanies the book: John Storm Roberts, Black Music of Two Worlds (Praeger; Tivoli, NY: Original Music, 1972)] Cote D'Ivoire: Musique Des Baoule-Kode. Ocora: OCR 34, LP, 1961, c1982. [The Baule people of the Ivory Coast] Drums of West Africa: Ritual Music of Ghana, Lyrichord: 7307, LP/AC, 1974-76. [Music of the Ewe people] Note: order from Lyrichord Discs, Inc.; lyrichord.com The Griots: Ministers of the Spoken Word. Smithsonian/Folkways: 4178, 2CD set, 1974, c1975. [Vocal music of Gambia, Senegal and Mali collected by Samuel Charters]

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Masques Dan: Cote-d’Ivoire. Ocora: 580048 (OCR 52), 1965-1967, c1993 [Music from Ivory Coast; French import distributed by Harmonia Mundi USA] Music from Gambia. Vol. 1. Smithsonian/Folkways: 4521, 2CD set, 1971-72, c1978. The Music of Nigeria: Hausa Music. UNESCO Collection, Anthology of African Music, vol. 6. Barenreiter Musicaphon: BM 30 L 2306, LP, c1965. [The Hausa people of Nigeria] Music of the Cameroons. Smithsonian/Folkways: 4372, 1959, c1961. The Music of the Senufo. UNESCO Collection, Anthology of African Music, vol. 8. Barenreiter Musicaphon: BM 30 L 2308, LP, c1965. [People of Ivory Coast, Upper Volta & Mali] Musiques du Cameroun. Ocora: OCR 25, LP, 1965, c1965. [People of the Cameroons] Roots of Black Music in America. Smithsonian/Folkways: 2694, 2CD set, c1972. Wide range of African and African American music with lengthy and well-documented notes by Samuel Charters. Songs of War and Death from the Slave Coast: Abutia Kloe, Ewe, Ghana. Smithsonian/Folkways: 4258/4259, 2CD set, c1982. Music of the Ewe people of Ghana. Togo: Music from West Africa. Rounder: 5004, 1978, c1991. Music of the Ewe people; order from Rounder Records, One Camp Street, Cambridge, MA 02140; 617-354-0700. Wolof Music of Senegal and the Gambia. Smithsonian/Folkways: 4462, c1955.

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DISCOGRAPHY OF RECORDINGS CITED IN CONCISE GUIDE TO JAZZ What follows is information to help you find recordings that are cited in Concise Guide to Jazz. Music discussed in the text that is contained in The Smithsonian Collection of Classic Jazz is not covered in as much detail here because it is described within the SCCJ set. And there are fewer citations for many musicians whose work is available in SCCJ, especially those for whom SCCJ was the only citation in the text. This is not a list of recommended "essential" albums, though most are indeed excellent. What lies here is simply information that would not fit in the textbook itself and/or would be more convenient if compiled separately. The apportionment of contents here should not be construed to indicate the relative importance of any musicians. The entries for Duke Ellington, Miles Davis, and Stan Kenton, for example, far outnumber those for other players who are equally important. Frequently, as with Ellington, Davis and Kenton, the number of entries listed for a particular musician reflects only the number illustrations suggested for facets described in the text passages devoted to those particular musicians, and some text passages mention more facets than other text passages mention. Consequently there are more albums listed here for the musicians treated in those passages than for musicians treated in other passages. Some entries represent my own self-imposed, but not entirely adhered to, requirement to try to recommend at least one representative work for each musician or band that is mentioned in the text. Current catalog numbers and reissues have been added to or substituted for older ones that were listed in the first edition's discography. The listing in this discography of performers such as Bob James and Kenny G is not meant to reflect a judgment of musical creativity on the same level as artists whose styles are discussed at length in the text, but simply to provide examples of the “smooth jazz” style. An additional feature of this discography is the inclusion of album lists under a major player's name that illustrate his stylistic development in the context of albums under other bandleaders' names. For example, the John Coltrane section cites a Dizzy Gillespie album which features an early Coltrane solo; the Chick Corea section contains Herbie Mann albums that feature early Corea solos. For the convenience of readers who are interested in big band arranging, Count Basie and Stan Kenton albums are organized by arranger. Note that as we went to press, a few Stan Kenton albums on Creative World were still available by mail from GNP Crescendo, Suite 104, 8271 Melrose Ave., Los Angeles, CA 90046; phone: 800-654-7029; web: www.gnpcrescendo.com. Others listed in this discography are in-print on Capitol. All the albums listed in this discography are available to anyone willing to seek quality record stores or contact the mail order firms listed below. The author knows several individuals who bought the first edition of Jazz Styles in 1978, and, by now, have acquired every album they wanted that was mentioned in that book's discography. They watched for reissues, followed auction lists and corresponded with the mail order firms that were listed in the text's Guide to Record Buying. For obtaining albums listed here, consult the record dealers and importers that are listed. For out-of-print recordings, contact the rare record dealers, auction lists, eBay, and used-CD sources such as amazon.com Marketplace. I am very grateful for the professional effort of William E. Anderson in updating and editing this discography. Bill's advice and assistance have been indispensable in the preparation of Concise Guide to Jazz and this manual.

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REGARDING ASTERISKED RECORDINGS It is sometimes necessary to cite out-of-print recordings. One reason is that many historically significant recordings were not in print at press time. Another reason is that recommending only current issues would be an unintentional disservice to the musician who has no work in print at press time or whose best work is yet to be reissued. Given a choice between an out-of-print record representing a player's best work and a current one that does not do the player justice, the out-of-print one has been listed. Personnel, tune titles, and recording dates are included so that if the item is reissued, you can recognize it. You can look for the original copy in libraries, used record stores, rare record dealers, and the cut-out bins, that are in some record and book stores. It may be helpful to subscribe to jazz magazines that run record sales and list auctions and rare record finding services. For helpful strategies in obtaining jazz albums, especially out-of-print items, consult the book’s appendix “Music Buying Strategies” Also see the list of importers and record dealers.

For information about the availability of recordings, the following may be useful: All Music

www.allmusic.com

eJAZZLINES

www.ejazzlines.com

MUZE

CD-ROM or online catalog available in many libraries and stores or at www.rovicorp.com

Websites of various jazz record companies may also be useful. Some of the records listed here might be out-of-print by the time you read this, so the details attached to the entries constitute your key to finding them in reissued form. Chances are good that, within a few years of your reading this, some important works that were out-ofprint -- denoted by an asterisk (*) -- will have been reissued. Items marked (+) are currently available as downloads from various websites including Amazon.com and record company sites. In the following discography, the most recent issue number is listed first. Original and/or alternate release numbers are listed in parentheses.

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INFORMATION FOR MAIL ORDER LABELS Creative World (Kenton) c/o GNP Crescendo Records 8400 Sunset Blvd. Hollywood, CA 90069 800-654-7029 www.gnpcrescendo.com

Mosaic Records 425 Fairfield Ave., Suite 421 Stamford, CT 06902 tel: 203-327-7111 fax: 203-323-3526 www.mosaicrecords.com

Smithsonian Folkways Recordings 600 Maryland Ave., SW, Suite 2001 Washington, DC 20024 tel: 1-888-FOLKWAYS or 202-633-6450 fax: 202-633-6477 www.si.edu/folkways/ New World Records The Recorded Anthology of American Music (New World 20 Jay Street, #1001 Records) was distributed to many libraries. Some titles Brooklyn, NY 11201 can still be ordered from this address. Liner notes for out-of-print Tel: 212-290-1680 albums are available on the website. www.newworldrecords.org

MAIL ORDER SOURCES FOR JAZZ RECORDINGS (INCLUDING IMPORTS) Klompfoot Cadence Building Redwood, NY 13679 tel: 315-287-2852 www.klompfoot.com

True Blue Music 425 Fairfield Ave. , Suite 421 Stamford, CT 06902 tel: 203-327-7111 fax: 203-323-3526 www.truebluemusic.com

Double-Time Jazz /TheMusicResource.com P.O. Box 146 Floyds Knobs, IN 47119-0146 fax: 812-923-1971 www.themusicresource.com

J&R Music World tel: 800-806-1115 www.jr.com

The Jazz Loft www.jazzloft.com

Jazz Record Mart www.jazzmart.com

Downtown Music Gallery www.dtmgallery.com

www.amazon.com

FOR OUT-OF-PRINT RECORDINGS AND AUCTION LISTS International Association of Jazz Record Collectors: www.

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iajrc.org

KEY TO INFORMATION IN DISCOGRAPHY

artist

label and current catalog number title alternate or series title original issue number

CANNONBALL ADDERLEY * Cannonball and Coltrane [Quintet in Chicago]. Emarcy: 834 588-2 (MG-20449), 1959, c1999. with John Coltrane, Wynton Kelly, Paul Chambers, and Jimmy Cobb: “Limehouse Blues,” “Stars Fell on Alabama,” “Grand Central.”

year recorded, year published

format available (if not CD)

personnel

LP = long-playing record selected tunes from session AC = audio cassette NOTE: ALL ITEMS ARE COMPACT DISCS UNLESS OTHERWISE INDICATED. * = out of print (2012); many are still available from used dealers, including Amazon.com + = out of print but available as a download from recording firm’s website or Amazon.com.

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CANNONBALL ADDERLEY, 1928-1975 (Alto Sax) Quintet in Chicago [Cannonball and Coltrane]. Mercury: 559 770-2 (MG-20449), 1959, c1999. With John Coltrane, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Them Dirty Blues. Capitol Jazz: 95447 (Riverside 322), 1960, c1989. With Nat Adderley, Barry Harris or Bobby Timmons, Sam Jones, and Louis Hayes: “Jeannine,” “Dat Dere,” “Del Sasser,” “Work Song,” and others. At the Lighthouse. Capitol Jazz: 31572 (Riverside 344), 1960, c2001. Includes “Sack o’ Woe.” Jazz Workshop Revisited. Blue Note: 29441 (Riverside 444), 1962, c2001. Includes “Jive Samba.” Cannonball in Europe. Capitol Jazz: 60436 (Riverside 499), 1962, c2005. With Nat Adderley, Yusef Lateef, Joe Zawinul, Sam Jones, and Louis Hayes; includes “Trouble in Mind.” Mercy, Mercy, Mercy. Capitol: 29915 (ST 2663), 1966, c1995. With Nat Adderley, Joe Zawinul, Victor Gaskin, and Roy McCurdy; recommended not for the popular “Mercy, Mercy, Mercy,” but for some blazing solos and driving rhythm section on “Fun” that seems to show roots in both the hard bop style of the 1950s and Coltrane's methods of the 1960s. Best of Cannonball Adderley: The Capitol Years. Capitol Jazz: 95482, 1962-69, c1991. Includes “Work Song,” “Jive Samba,” “Mercy, Mercy, Mercy,” ”Walk Tall,” and “Country Preacher.” see MILES DAVIS - Miles Davis & John Coltrane: The Complete Columbia Recordings 1955-1961, Miles and Coltrane, Milestones, '58 Sessions, and Kind of Blue see ANTHOLOGIES - The Smithsonian Collection of Classic Jazz LOUIS ARMSTRONG, 1901-1971 (Trumpet/Singer) Ken Burns JAZZ Collection: Louis Armstrong. Sony/Legacy: 61440 (OKeh/RCA/Decca), 1923-67, c2000. *Louis Armstrong and Sidney Bechet in New York. Smithsonian: 2026, 2LP set, 1923-25, c1981. “Wild Cat Blues,” “Cake Walkin' Babies from Home,” and others. Louis Armstrong: Portrait of the Artist as a Young Man. Columbia/Legacy: 85670 (57176), 4CD set, 1923-34, c1994.

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Hot Fives and Sevens. JSP: JSPLOUISBOX 100 (OKeh), 4CD set, 1925-29, c[1991]. (import) * The Complete Hot Five and Hot Seven Recordings. Columbia/Legacy: C4K 63527 (OKeh), 4CD set, 1925-29, c2000. The Complete Hot Five and Hot Seven Recordings. Vol. 1. Columbia/Legacy: 86999 (OKeh), 1925-26, c2003. The Complete Hot Five and Hot Seven Recordings. Vol. 2. Columbia/Legacy: 87010 (OKeh), 1926-27, c2003. + The Complete Hot Five and Hot Seven Recordings. Vol. 3. Columbia/Legacy: 87011 (OKeh), 1927-28, c2003. Vol. 1: “Heebie Jeebies,” “Cornet Chop Suey,” “Muskrat Ramble,” and “King of the Zulus”; Vol. 2: “Big Butter and Egg Man,” “Wild Man Blues,” “Alligator Crawl,” “Potato Head Blues,” and “Twelfth Street Rag”; Vol. 3: “S.O.L. Blues,” “Struttin' with Some Barbecue,” “I'm Not Rough,” “Hotter Than That,” “Fireworks,” “Skip the Gutter,” “A Monday Date,” “West End Blues,” “Sugar Foot Strut,” “No Papa No,” “Weather Bird,” “Muggles,” “St. James Infirmary,” “Tight Like This,” and others. * Louis Armstrong and Earl Hines. Smithsonian: 2002, 2LP set, 1928, c1981. + The Complete RCA Victor Recordings. RCA Bluebird: 63846, 4CD set, 1932-33, 1946-47, 1956, c2000. Sugar: Best of the Complete RCA Victor Recordings. RCA Bluebird: 63851, 1932-47, c2001. The above items include “That’s My Home,” “I Gotta Right to Sing the Blues,” “Basin Street Blues,” “I’ve Got the World on a String,” and others. see KING OLIVER see BESSIE SMITH see ANTHOLOGIES - The Smithsonian Collection of Classic Jazz COUNT BASIE, 1904-1984 (Piano/Big Band) + Kansas City Powerhouse. RCA Bluebird: 63903 (Victor/Bluebird), 1929-32, 1947-49, c2002. Includes “Moten Swing” (1932) and other recordings by the Bennie Moten Orchestra, with Basie on piano plus the Basie band of the late 1940s. Ken Burns JAZZ Collection: Count Basie. Verve: 549 090-2 (Bluebird/Decca/Columbia/Verve/Roulette), 1932-57, c2000. The Complete Decca Recordings. Decca Jazz: GRD3-611, 3CD set, 1937-39, c1992. + The Best of Early Basie. Decca Jazz/GRP: 655, 1936-38, c1996. “One O'Clock Jump,” “Jumpin' at Woodside,” “Topsy,” “Jive at Five,” “Doggin’ Around,” “Cherokee,” and others. + America’s #1 Band. Columbia/Legacy: C4K 87110 (Vocalion/Okeh/Columbia), 4CD set, 1936-51, c2003. + The Essential Count Basie. Vol. 1. Columbia: 40608 (Vocalion), 1936-39, c1987.

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+ The Essential Count Basie. Vol. 2. Columbia: 40835 (Vocalion), 1939-40, c1987. Vol. 1: “Lady Be Good,” “Shoe Shine Boy,” “Pound Cake,” and “Taxi War Dance”; Vol. 2: “Dickie’s Dream” and “Lester Leaps In”; America’s #1 Band includes all of these and many more with improved sound quality. *The Complete Clef/Verve Count Basie Fifties Studio Recordings. Mosaic: MD8-228, 8CD set, 1952-57, c2006. *The Complete Roulette Studio Recordings of Count Basie and His Orchestra. Mosaic: MD10-149, 10CD set, 1957-61, c1993. Includes the following albums listed on this page: Kansas City Suite, The Legend, Basie, Basie Plays Hefti, One More Time, and Chairman of the Board. Best of the Roulette Years. Blue Note: 97969, 1957-61, c1991. Atomic Swing. Blue Note: 97871 (Roulette), 1957-60, c1999. see ANTHOLOGIES - Anthology of Big Band Swing, Big Band Jazz, Big Band Renaissance, Jazz Piano, Jive at Five, Ken Burns JAZZ, and Smithsonian Collection of Classic Jazz (The following list of Basie recordings is organized by arranger.) BILLY BYERS * More Hits of the 50s and 60s. Verve: V-8563, LP, 1963, c1963. Basie Land. Verve: B0012699-02 (V-8597), 1963, c2009. BENNY CARTER Kansas City Suite. Roulette: 94575 (52056), 1960, c1990. * The Legend. Roulette: 59038 (52086), 1961, c1985. NEAL HEFTI The Complete Atomic Basie. Roulette: 28635 (52003), 1957, c1994. * Basie Plays Hefti. Roulette: 52011, LP, 1958, c1958. On My Way and Shoutin' Again. Verve: B0012368-02 (V8511), 1962, c2009. QUINCY JONES * One More Time. Roulette: 97271 (52024), 1958-59, c1991. + Li'l Ol' Groovemaker. Verve: 821 799-2 (V-8549), 1963, c1980.

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THAD JONES Chairman of the Board. Roulette: 81664 (52032),1959, c2003. SAMMY NESTICO Straight Ahead. GRP: 822 (Dot 25902), 1967, c1998. * Have a Nice Day. Emarcy: 824 867-2 (Daybreak 2005), 1971. ERNIE WILKINS * Sixteen Men Swingin’ [Dance Session]. Verve: VE2-2517 (MGC-626/MGC-647), 2LP set, 1953-54, c1977. Hall of Fame. Fresh Sound: 567 (Verve MGV8291), 1956, c2010. (import)

BIX BEIDERBECKE, 1903-1931 (Cornet) * The Complete OKeh & Brunswick Recordings of Bix Beiderbecke, Frankie Trumbauer and Jack Teagarden. Mosaic: MD7-211, 7CD set, 1924-36, c2001. Bix & Tram. JSP: 913, 4CD set, 1924-34, c2002. (import) Bix Beiderbecke. Vol. 1. Singin' the Blues. Columbia: 45450, 1927-28, c1990. Frankie Trumbauer, Joe Venuti, Eddie Lang: “Singin' the Blues,” “In a Mist,” and others. Bix Beiderbecke. Vol. 2. At the Jazz Band Ball. Columbia: 46175, 1927-28, c1990. “A Good Man Is Hard to Find,” “Mississippi Mud,” and others. + The Indispensable Bix Beiderbecke. RCA: 66540, 2CD set, 1925-30, c1992. With Jean Goldkette, Paul Whiteman, and own groups. see ANTHOLOGIES - The Smithsonian Collection of Classic Jazz, Big Band Jazz, and Ken Burns JAZZ GEORGE BENSON, 1943- (Guitar/Singer) Breezin’. Warner Bros.: 3111 (2919), 1976, c1985. In Flight. Friday Music/Warner Bros.: 2983, 1976, c2011. BIRTH * Birth. Mr. Small’s Funhouse, 1999. * Find. Hopscotch: 11, 2001, c2002. With Josh Smith, Jeremy Bleich, and Joe Tomino.

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ART BLAKEY, 1919-1990 (Drums/Bandleader) Ken Burns JAZZ Collection: Art Blakey. Verve: 549 089-2 (Blue Note/Timeless), 1954-81, c2000. A Night at Birdland. Vols. 1 & 2. Blue Note: 32146/32147 (1521/1522), 2CDs, 1954, c2001. Live recordings with Clifford Brown, Lou Donaldson, Horace Silver, and Curly Russell; some volatile moments in Blakey's drum style; Silver's piano style is more Bud Powell-like here than the leaner conception Silver employed later. The Jazz Messengers. Columbia/Legacy: 65265 (CL 897), 1956, c1997. With Donald Byrd, Hank Mobley, and Horace Silver; excellent Byrd work and two Silver compositions; this recording is recommended for some of the most well-constructed solos of Hank Mobley's career: “Ecaroh,” “Nica's Dream” (both by Silver), “Carol's Interlude,” “Hank's Symphony,” and “Infra-Rae” (all by Mobley). (Sbme Special Mkts.) Hard Bop. Mosaic: MCD-1005 (Columbia CL 1040), 1956, c2006. Hard Bop; Paris Concert. Collectables: 5675 (Columbia CL1040), 1956, 1958, c1995. With Bill Hardman, Jackie McLean, Sam Dockery, and Spanky DeBrest; includes “Cranky Spanky” (1956). Moanin’. Blue Note: 95324 (84003), 1958, c1999. Includes Bobby Timmons’s “Moanin’.” * The Complete Blue Note Recordings of Art Blakey's 1960 Jazz Messengers. Mosaic: MD6-141, 6CD set, 1960-61, c1992. With Lee Morgan, Wayne Shorter, and Bobby Timmons. A Night in Tunisia. Blue Note: 64474 (84049), 1960, c2005. With Morgan, Shorter, and Timmons. Mosaic. Blue Note: 37769 (84090), 1961, c2006. With Freddie Hubbard, Curtis Fuller, Wayne Shorter, and Cedar Walton. + The Witch Doctor. Blue Note: 21957 (84258), 1961, c1999. + Roots and Herbs. Blue Note: 21956 (84347), 1961, c1999. Three Blind Mice. Vols. 1 & 2. Blue Note: 84451/84452, 2CDs, 1962, c1990. With Hubbard, Fuller, Shorter, and Cedar Walton. Caravan. Riverside: 30187 (RLP-9438), 1962, c2007. Ugetsu. Original Jazz Classics: 32692 (Riverside RLP-9464), 1963, c2011. Live recordings with Hubbard, Fuller, and Shorter. Indestructible. Blue Note: 80915 (84193), 1964, c2003. With Lee Morgan, Wayne Shorter, and Curtis Fuller.

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+ Buttercorn Lady. Emarcy: 822 471-2 (Limelight 82034), 1966,

c1986.

Album of the Year. Timeless: 74503 (155), 1981, c2010. Keystone 3. Concord: 4196, 1982, c1990. Both with Wynton Marsalis on trumpet. see HORACE SILVER - Horace Silver and The Jazz Messengers see ANTHOLOGIES - Ken Burns JAZZ and Nica's Dream CARLA BLEY, 1938- (Composer-Arranger, Keyboards) Selected Recordings. :rarum xv. ECM: B0001795-02 (Watt), 1971-99, c2004. Escalator over the Hill. Watt/ECM: 1802 (EOTH), 2CD set, 1968-71, c2000. + European Tour 1977. Watt/ECM: 8, 1977, c1978. Social Studies. Watt/ECM: 11, 1981, c2000. + Fleur Carnivore. Watt/ECM: 21, 1988, c1989. The Very Big Carla Bley Band. Watt/ECM: 23, 1990, c1991. Big Band Theory. Watt/ECM: 25, 1993, c2000. + The Carla Bley Big Band...Goes to Church. Watt/ECM: 27, 1996, c2000. Fancy Chamber Music. Watt/ECM: 28, 1997, c2000. 4 x 4. Watt/ECM: 30, 1999, c2000. Looking for America. Watt/ECM: 31, 2002, c2003. BLOOD, SWEAT AND TEARS (Jazz-Rock Band) Child Is Father to the Man. Columbia/Legacy: 63987 (9619), 1967, c2000. (Sbme Special Mkts.) Blood Sweat and Tears. Columbia/Legacy: 63986 (9720), 1968, c2000. MICHAEL BRECKER, 1949-2007 (Tenor Sax) Michael Brecker. MCA: 5980, c1986. Don’t Try This at Home. Impulse!: 42229, c1988. see CLAUS OGERMANN - Cityscape

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MICHAEL and RANDY BRECKER (Tenor Sax/Trumpet) Brecker Brothers: Heavy Metal Bebop. Arista, 1978, c2008. Brecker Brothers: Return of the Brecker Brothers. Verve: B0011225-02 (GRP 9684), 1992, c2008. see HORACE SILVER - In Pursuit of the 27th Man PETER BRÖTZMANN, 1941- (Tenor Sax/Clarinet) Sacred Scrape/Secret Response. Rastascan: 015, 1992, c1994. CLIFFORD BROWN, 1930-1956 (Trumpet) The Complete Blue Note and Pacific Jazz Recordings. Blue Note: 34195, 4CD set, 1953-54, c1995. Brownie: The Complete Emarcy Recordings of Clifford Brown. Emarcy: 838 306, 10CD set, 1954-56, c1989. Clifford Brown and Max Roach. Verve: 314 543 306-2 (Emarcy 36036), 1954, c2000. With Harold Land, Richie Powell, and George Morrow. Clifford Brown and Max Roach at Basin Street. Emarcy: 589 826 (MG-36070), 1956, c2002. Studio recordings with Sonny Rollins: “What Is This Thing Called Love” and “Gertrude’s Bounce.” see ART BLAKEY - A Night at Birdland see J.J. JOHNSON – The Eminent J.J. Johnson see SONNY ROLLINS – Sonny Rollins Plus 4 see ANTHOLOGIES – Bebop and Ken Burns JAZZ JAMES BROWN, 1933-2006 (R&B-Funk Band) Star Time. Polydor: 849 108 (King), 4CD set, 1956-1974, c1991. 50th Anniversary Collection. Polydor: B0001125-02, 2CD set, 1959-88, c2003. 20 All Time Greatest Hits. Polydor: 314 511 326, 1956-74, c1991. All of the above include “Cold Sweat” (1967). DAVE BRUBECK, 1920- (Piano) Ken Burns JAZZ Collection: Dave Brubeck. Sony/Legacy: 61442 (Fantasy/Columbia/Atlantic/MusicMasters), 1953-91, c2000. The Dave Brubeck Octet. Fantasy: OJC-101 (Fantasy 3-239), 1946-49, c1991. With Dick Collins, Bob Collins, Paul Desmond, Bob Cummings, Dave Van Kriedt, Bill Smith, Dave Brubeck, Ron Crotty, and Cal Tjader; some of these arrangements sound like the Birth of the Cool, historically interesting in light of the fact that these were made before the Miles Davis Nonet recorded.

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Jazz at Oberlin. Concord: 31991 (Fantasy 3-245), 1953, c2010. Concert. “These Foolish Things,” “Perdido,” and “How High the Moon.” + Gone with the Wind. Columbia: 40627 (CS 8156/CL 1347), 1959, c1983. With Desmond, Gene Wright, and Joe Morello. Brubeck's most relaxed date. Time Out. Columbia/Legacy: 65122 (CS 8192/CL 1397), 1959, c1997. With Desmond and Morello: “Take Five” and “Blue Rondo a la Turk.” Time Further Out. Columbia/Legacy: 64668 (CS 8490/CL 1690), 1961, c1996. ORNETTE COLEMAN, 1930- (Alto Sax) Ken Burns JAZZ Collection: Ornette Coleman. Sony/Legacy: 61450 (Contemporary/Atlantic/Blue Note/Columbia/Horizon), 1958-76, c2000. Complete Live at the Hillcrest Club. Gambit: 69272 (Inner City), 1958, c2008. With Don Cherry, Paul Bley, Charlie Haden, and Billy Higgins; includes Charlie Parker’s “Klactoveesedstene.” Something Else! Contemporary: 32845 (7551), 1958, c2011. With Don Cherry, Walter Norris, Don Payne, and Billy Higgins; all tunes by Coleman: “Invisible,” “The Blessing,” “When Will the Blues Leave?,” “Jayne,” and others. + Beauty Is a Rare Thing: The Complete Atlantic Recordings. Rhino: 71410, 6CD set, 1959-61, c1993. The Shape of Jazz to Come. Rhino/Atlantic: 1317, 1959, c1992. With Don Cherry, Charlie Haden, and Billy Higgins: “Lonely Woman,” “Congeniality,” and “Peace.” Change of the Century. Atlantic: 81341 (1327), 1959, c1992. With Cherry, Haden and Higgins: “Ramblin',” and others. Free Jazz. Atlantic: 1364, 1960, c1988. Recording of one, uninterrupted, collective improvisation, employing very little preset structure; with Ornette Coleman, Eric Dolphy, Don Cherry, Freddie Hubbard, Scott LaFaro, Charlie Haden, Billy Higgins, and Ed Blackwell. At the Golden Circle. Vol. 1. Blue Note: 35518 (84224), 1965, c2002. Concert by Coleman, David Izenzon, and Charles Moffett: “Faces and Places,” “European Echoes,” “Dee Dee,” and “Dawn.” * Forms and Sounds: The Music of Ornette Coleman. RCA Bluebird: 6561 (LSC-2982), 1968, c1987. Includes Coleman's “Forms and Sounds” played by the Philadelphia Woodwind Quintet with trumpet interludes played by Coleman; and “Saints and Soldiers” and “Space Flight” played by the Chamber Symphony of Philadelphia Quartet.

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The Complete Science Fiction Sessions. Columbia/Legacy: C2K 63569 (31061), 2CD set, 1971-72, c2000. Includes “Civilization Day” with Don Cherry, Charlie Haden, Billy Higgins. + Skies of America. Columbia/Legacy: 63568 (31562), 1972, c2000. Coleman's writing, performed by the London Symphony Orchestra conducted by David Measham with Coleman on saxophone. + Dancing in Your Head. Verve: 314 543 519-2 (Horizon SP-722), 1976, c2000. Electric band. * Of Human Feelings. Antilles 2001, 1979, c1982. Electric band. * In All Languages. Harmolodic/Verve: 531 915-2 (Caravan of Dreams 85008), 1987, c1997. Half with Don Cherry, Charlie Haden, and Billy Higgins; half with the electric band: Prime Time. see ANTHOLOGIES - Ken Burns JAZZ and The Smithsonian Collection of Classic Jazz STEVE COLEMAN, 1956- (Alto Sax) * Motherland Pulse. Winter & Winter: 919001 (JMT 850001), 1985, c2001. World Expansion. Winter & Winter: 919010 (JMT 870 101), 1986, c2002. * Curves of Life. RCA Victor: 31693, 1995, c1995. * Genesis & The Opening of the Way. RCA Victor: 52934, 2CD set, 1997, c1997. JOHN COLTRANE, 1926-1967 (Tenor Sax/Soprano Sax) * The Last Giant: The John Coltrane Anthology. Rhino: 71255, 2CD set, 1946-67, c1993. Includes early solos with Dizzy Gillespie, Gay Crosse, and Johnny Hodges, plus a selection of Blue Note and Atlantic recordings. Blue Train. Blue Note: 95326 (81577), 1957, c2003. With Lee Morgan, Curtis Fuller, Paul Chambers, and Philly Joe Jones. The Prestige Recordings. Prestige: 4405, 16CD set, 1956-58, c1991. Traneing In. Prestige: 30156 (7123), 1957, c2007. With Red Garland, Paul Chambers, and Art Taylor. Soultrane. Prestige: 30006 (7142), 1958, c2006. With Garland, Chambers, and Taylor: “Good Bait,” “Theme for Ernie,” “I Want to Talk about You,” and others.

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Ken Burns JAZZ Collection: John Coltrane. Verve: 549 083-2 (Atlantic/Impulse!), 1956-67, c2000. The Heavyweight Champion: The Complete Atlantic Recordings. Rhino: 71984, 7CD set, 1959-61, c1995. Giant Steps. Atlantic: 1311, 1959, c1988. With Tommy Flanagan, Elvin Jones; “Giant Steps,” “Countdown,” and “Naima.” + Coltrane Jazz. Rhino: 79891 (Atlantic 1354), 1959, c2000. My Favorite Things. Rhino: 75204 (Atlantic 1361), 1960, c1998. Includes “My Favorite Things.” Coltrane Plays the Blues. Atlantic: 1382, 1960, c1989. + Avant-Garde. Atlantic: 1451, 1960, c1990. Olè Coltrane. Atlantic: 1373, 1961, c1989. Includes “Olè” with Eric Dolphy. The Complete Africa/Brass Sessions. Impulse!: IMPD2-168 (A-6), 2CD set, 1961, c1995. Coltrane: The Complete 1961 Village Vanguard Recordings. Impulse!: IMPD4-232, 4CD set, 1961, c1997. With Eric Dolphy, McCoy Tyner, Jimmy Garrison, Reggie Workman, Elvin Jones, and others; includes “Spiritual,” “Chasin’ the Trane,” “Impressions,” “India,” and others. Impressions. Impulse!: 314 543 416-2 (A-42), 1961-63, c2000. Includes “Impressions” and “India.” + The Classic Quartet: Complete Impulse! Studio Recordings. Impulse!: IMPD8-280, 8CD set, 1961-65, c1998. With McCoy Tyner, Jimmy Garrison, and Elvin Jones. Coltrane. Impulse!: 215 (A-21), 1962, c1997. Coltrane. deluxe ed. Impulse!: 314 589 567-2 (A-21), 1962, c2002. Includes “Tungi,” “Miles Mode,” “Out of This World,” and others. Dear Old Stockholm. Impulse!: 120, 1963, c1993. Includes “After the Rain.” Live at Birdland. Impulse!: B0010968-02 (A-50), 1963, c2008. Includes “Your Lady,” “The Promise,” “Alabama,” and others. Crescent. Impulse!: B0010969-02 (A-66), 1964, c2008. Includes “Bessie’s Blues,” “Wise One,” “Lonnie’s Lament,” and others.

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A Love Supreme. Impulse!: B0010970-02 (A-77), 1964, c2008. A Love Supreme. deluxe ed. Impulse!: 314 589 945-2 (A-77), 2CD set, 1964, c2002. Includes “Pursuance.” Ascension. Impulse!: B0012402-02 (A-95), 1965, c2009. Includes editions I & II. The Major Works of John Coltrane. Impulse!: GRD2-113, 2CD set, 1965, c1992. Includes “Ascension” - editions I & II (A-95) and “Kulu Se Mama” (A-9106). Meditations. Impulse!: 199 (A-9110), 1965, c1996. Transition. Impulse!: B0015953-02 (A-9195), 1965, c2011. Includes “Dear Lord.” Live in Seattle. Impulse!: GRD2-146 (A-9202-2), 2CD set, 1965, c1994. Sun Ship. Impulse!: B0015952-02 (A-9211), 1965, c2011. Interstellar Space. Impulse!: 314 543 415-2 (A-9277), 1967, c2000. With Rashied Ali; includes “Mars.” Expression. Impulse!: 131 (A-9120), 1967, c1993. Includes “Expression” and “Ogunde.” see CANNONBALL ADDERLEY - Quintet in Chicago see MILES DAVIS - New Quintet, Cookin', Relaxin', Workin', Steamin', Miles Davis & John Coltrane: The Complete Columbia Recordings, 'Round about Midnight, Miles and Coltrane, Milestones, '58 Sessions, and Kind of Blue see THELONIOUS MONK – At Carnegie Hall see ANTHOLOGIES - Ken Burns JAZZ and The Smithsonian Collection of Classic Jazz FOR EXAMPLES OF EARLY COLTRANE SOLOS: see JOHN COLTRANE - The Last Giant (above) see DIZZY GILLESPIE - School Days and Odyssey CHICK COREA, 1941- (Keyboards) Inner Space. Atlantic/Rhino: 305 (Vortex 2004), 1966, c1988. “Tones for Joan's Bones” and “Litha.” Now He Sings, Now He Sobs. Blue Note: 38265 (Solid State 18039), 1968, c2002. With Miroslav Vitous and Roy Haynes: “Matrix,” “Steps-What Was,” “Now He Beats the Drum-Now He Stops,” and “Now He Sings, Now He Sobs.”

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+ The Complete “Is” Sessions. Blue Note: 40532 (Solid State), 2CD set, 1969, c2002. * The Song of Singing. Blue Note: 84353, 1970, c1989. With Dave Holland and Barry Altschul. A.R.C. ECM: 1009, 1971, c2000. With Dave Holland and Barry Altschul: “Nefertiti,” “Ballad for Tillie,” “Thanatos,” “Vendana,” and others. Piano Improvisations. Vol. 1. ECM: 1014, 1971, c2000. Piano Improvisations. Vol. 2. ECM: 1020, 1971, c2000. Solo piano; all tunes written by Corea, except Thelonious Monk's “Trinkle Tinkle” and Wayne Shorter's “Masqualero”; also includes “Song for Lee Lee,” “Song for Sally,” “Song of the Wind,” and “Some Time Ago.” Return to Forever. ECM: 1022, 1971, c1999. With Stanley Clarke, Airto Moreira, Flora Purim, and Joe Farrell; all tunes composed by Corea: “Return to Forever,” “Crystal Silence,” “What Game Shall We Play Today?,” and “Some Time Ago - La Fiesta.” Return to Forever. Light as a Feather. Polydor: 827 148-2 (5525), 1972, c1987. Return to Forever. Light as a Feather [remastered]. Verve: 314 557 115-2 (Polydor 5525), 1972, c1998. With Joe Farrell, Stanley Clarke, Airto, and Flora Purim; includes “Spain.” Return to Forever. Hymn to the Seventh Galaxy. Verve: 825 336-2 (Polydor 5536), 1973, c1991. Return to Forever. Where Have I Known You Before? Polydor: 825 206 (6509), 1974, c1985. With Al DiMeola, Stanley Clarke, Lenny White. Return to Forever. No Mystery. Polydor: 827 149 (6512), 1975, c1989. With Chick Corea (acoustic and electric piano, clavinet, Yamaha organ, synthesizers, snare drum, marimba, and vocal), Al Dimeola (electric and acoustic guitar), Stanley Clarke (acoustic and electric bass, Yamaha organ, synthesizer and vocal), and Lenny White (drums, marimba, conga, and percussion); Spanish "flamenco" and rock are the idioms, not primarily jazz, with little soft material, mostly hard feel: “Dayride” (Clarke), “Jungle Waterfall” (Corea-Clarke), “Flight of the Newborn” (Dimeola), “Excerpt from the Movement of Heavy Metal” (entire band), “No Mystery” (Corea), “Interplay” (Corea-Clarke), “Celebration Suite I and II” (Corea); this recording is cited to illustrate the mixture of acoustic and electric, jazz and rock styles, which typified Corea concerts of the mid-1970's. Trio Music. ECM: 1232, 1981, c2001. Trio Music Live in Europe. ECM: 1310, 1984, c2000. With Miroslav Vitous and Roy Haynes. Chick Corea Elektric Band. GRP: 9535, 1986, c1986.

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CHICK COREA AS SIDEMAN Blue Mitchell: The Thing to Do. Blue Note: 94319 (84178), 1964, c2004. With Chick Corea, Junior Cook, Gene Taylor, Al Foster (basically Horace Silver's band with Corea taking Silver's place); includes some Bud Powell-influenced Corea solos. Herbie Mann: Herbie Mann Plays The Roar of the Greasepaint - The Smell of the Crowd. Collectables: 6829 (Atlantic 1437), 1965, c2001. With Chick Corea, Dave Pike, Patato Valdez, Earl May, and Bruno Carr: “The Joker,” “Feeling Good,” “Who Can I Turn To?,” and “On a Wonderful Day Like Today”; contains good examples of early Corea. This reissue is combined with Herbie Mann, Today! (Atlantic 1454). + Herbie Mann: Standing Ovation at Newport. Wounded Bird: 1445 (Atlantic 1445), 1965, c2000. With Corea, Pike, Valdez, May and Carr; good examples of early Corea. Herbie Mann: Monday Night at the Village Gate. Wounded Bird: 1462 (Atlantic 1462), 1965, c2001. With Corea, Pike, Valdez, May, and Carr; good examples of early Corea. Blue Mitchell: Boss Horn. Blue Note: 63813 (84257), 1966, c2005. With Chick Corea, Julian Priester, Junior Cook, Pepper Adams, Gene Taylor, and Mickey Roker: “Tones for Joan's Bones,” “Straight Up and Down,” etc.; includes some Bud Powell-influenced Corea solos. Note: Both The Thing to Do and Boss Horn were reissued on * The Complete Blue Mitchell Blue Note Sessions (Mosaic: MD4-178, 4CD set, 1963-67, c1998). + Cal Tjader: Soul Burst. Verve: 557 446-2 (V6-8637), 1966, c1998. With Chick Corea, Jerome Richardson, Jerry Dodgion, Seldon Powell, Richard Davis, and Grady Tate; includes some McCoy Tyner-influenced Corea soloing. Stan Getz: Sweet Rain. Verve: B0011226-02 (V6-8693), 1967, c2008. With Corea, Ron Carter, and Grady Tate: “Litha,” “Windows,” and “Con Alma.” see MILES DAVIS - Black Beauty see ANTHOLOGIES - Jazz Piano HANK CRAWFORD, 1934-2009 (Saxophone) Mr. Blues Plays Lady Soul. Collectables: 6244 (Atlantic 1523), 1969, c1999. + Soul Survivors. Milestone: 9142, 1986, c1986. CRUSADERS The Best of the Jazz Crusaders: The Pacific Jazz Years. Blue Note: 89283, 1961-66, c1993.

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Southern Comfort. MCA: 6016 (Blue Thumb 9002), 1974, c1997. Street Life. Blue Thumb: 701 (MCA 3008), 1979, c1996. All with Joe Sample and Wilton Felder. MILES DAVIS, 1926-1991 (Trumpet) Ken Burns JAZZ Collection: Miles Davis. Sony/Legacy: 61443 (Savoy/Capitol/Prestige/Columbia/Warner Bros.), 1947-86, c2000. Birth of the Cool. Capitol: 30117 (T 762), 1949-50, c2001. The Complete Birth of the Cool. Capitol Jazz: 94550, 1948-50, c1998. Sessions arranged by Johnny Carisi, John Lewis, Miles Davis, Gerry Mulligan, and Gil Evans; with soloists Davis, Mulligan, and Lee Konitz: “Jeru,” “Boplicity,” “Budo,” “Moon Dreams,” and others; instrumentation consists of trumpet, alto sax, baritone sax, trombone, French horn, tuba, piano, bass, and drums; often called the Miles Davis Nonet. Chronicle: The Complete Prestige Recordings. Prestige: 012, 8CD set, 1951-56, c1987. Dig. OJC/Concord: 32327 (Prestige 7012), 1951, c2010. With Sonny Rollins, Jackie McLean, Walter Bishop, Jr., Tommy Potter, and Art Blakey: George Shearing's “Conception,” McLean's “Dig” (also called “Donna,” based on the chord progressions of “Sweet Georgia Brown”), “Denial” (based on the chord changes of Charlie Parker's “Confirmation”), “Bluing,” “Out of the Blue,” and “It's Only a Paper Moon.” Collector's Items. Prestige: 24022 (P-7044), 1953, 1956, c2007. With Sonny Rollins, Tommy Flanagan, Paul Chambers, and Art Taylor (1956): Dave Brubeck's “In Your Own Sweet Way” and Davis's “Vierd Blues” and “No Line”; also a session with Sonny Rollins, Charlie Parker (playing tenor and identified as Charlie Chan), Walter Bishop, Jr., Percy Heath, and Philly Joe Jones (1953): “Compulsion,” “'Round Midnight,” and two takes of “The Serpent's Tooth.” Walkin'. Prestige/Concord: 30008 (P-7076), 1954, c2006. With Horace Silver, J. J. Johnson, Kenny Clarke, and others. Bag's Groove. Prestige: 30645 (P-7109), 1954, c2008. With Milt Jackson, Thelonious Monk, Percy Heath, and Kenny Clarke: “Bags' Groove”; also a session with Sonny Rollins, Horace Silver, Percy Heath, and Kenny Clarke, including the Rollins compositions: “Oleo,” “Doxy,” and “Airegin,” and “But Not for Me” (Gershwin). Miles Davis and the Modern Jazz Giants. Prestige: 30655 (P-7150), 1954, c2008. With Jackson, Monk, Heath, and Clarke: “The Man I Love,” “Swing Spring,” and “Bemsha Swing.” The New Miles Davis Quintet. Prestige: 31343 (P-7014), 1955, c2009. With John Coltrane, Red Garland, Paul Chambers, and Philly Jo Jones.

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The Legendary Prestige Quintet Sessions. Prestige: PRCD4-4444-2, 4CD set, 1955-56, c2006. Cookin'. Prestige: 30157 (P-7094), 1956, c2007. Relaxin'. Prestige: 8104 (P-7129), 1956, c2006. Workin'. Prestige: 30080 (P-7166), 1956, c2006. Steamin'. Prestige: 30167 (P-7200), 1956, c2007. With Coltrane, Garland, Chambers, and Jones: “Oleo,” “If I Were a Bell,” “You're My Everything,” “I Could Write a Book,” “It Could Happen to You,” “Woody 'n' You,” “My Funny Valentine,” “Blues by Five,” “Airegin,” “Tune Up,” “When Lights Are Low,” “It Never Entered My Mind,” “Four,” “In Your Own Sweet Way,” “The Theme” (two takes), “Trane's Blues,” “Ahmad's Blues,” and “Half Nelson.” Miles Davis & John Coltrane: The Complete Columbia Recordings 1955-1961. Columbia/Legacy: 90922, 6CD set, 1955-61, c2004. 'Round About Midnight. Columbia/Legacy: 85201 (CL 949), 1955-56, c2001. * Miles and Coltrane. Columbia: 44052, 1955, 1958, c1988. “Budo” (1955); also includes 1958 Newport performance with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb. Miles Davis/Gil Evans: The Complete Columbia Studio Recordings. Columbia/Legacy: 90923, 6CD set, 1957-68, c2004. Includes all of Miles Ahead, Porgy and Bess, Sketches of Spain, plus additional material. Miles Ahead. Columbia/Legacy: 65121 (CL1041), 1957, c1997. Gil Evans arrangements; includes Dave Brubeck’s “The Duke.” Milestones. Columbia/Legacy: 85203 (CL1193), 1958, c2001. Includes “Two Bass Hit” and “Billy Boy.” Porgy and Bess. Columbia/Legacy: 65141 (CL1274), 1958, c1997. Gil Evans arrangements; includes “Summertime” and “Fishermen, Strawberry and Devil Crab.” + '58 Sessions. Columbia: 47835, 1958, c1991. Studio and live sessions with Coltrane, Adderley, Bill Evans, Chambers, and Cobb; includes “On Green Dolphin Street.” Kind of Blue. Columbia/Legacy: 64935 (CS8163/CL1355), 1959, c1997. Includes “Freddie the Freeloader,” “So What,” “Blue in Green,” and “Flamenco Sketches.” Sketches of Spain. Columbia/Legacy: 65142 (CS8271/CL1480), 1959-60, c1997. Gil Evans arrangements; includes “Concerto de Aranjuez (Adagio),” “Solea,” “Saeta,” “The Pan Piper,” and “Will o’ the Wisp.”

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Someday My Prince Will Come. Columbia/Legacy: 65919 (CS8456/CL1656), 1961, c1999. Sbme Special Mkts. + In Person Friday and Saturday Nights at the Blackhawk, Complete. Columbia/Legacy: C4K 87106 (CL1669/1670), 4CD set, 1961, c2003. Saturday Night at the Blackhawk. Columbia/Legacy: 87100 (CL1670), 1961, c2003. Miles Davis at Carnegie Hall: The Complete Concert. Columbia/Legacy: C2K 65027 (CS8612/CL1812), 2CD set, 1961, c1998. Seven Steps: The Complete Columbia Recordings of Miles Davis 1963-1964. Columbia/Legacy: 90840, 7CD set, 1963-64, c2004. Includes Seven Steps to Heaven, In Europe, My Funny Valentine, Four and More, Miles in Tokyo, and Miles in Berlin. Seven Steps to Heaven. Columbia/Legacy: 93592 (CS8851/CL2051), 1963, c2005. Includes “I Fall in Love Too Easily.” Sbme Special Mkts. + In Europe. Columbia/Legacy: 93583 (CS 8983/CL2183), 1963, c2005. My Funny Valentine. Columbia/Legacy: 93593 (CS9106/CL2306), 1964, c2005. Concert; includes “My Funny Valentine,” “Stella by Starlight,” and “All of You.” Four and More. Columbia/Legacy: 93595 (CS9253/CL2453), 1964, c2005. Miles in Tokyo. Columbia/Legacy: 93596, 1964, c2005. Sbme Special Mkts. Concert with Sam Rivers, Herbie Hancock, Ron Carter, and Tony Williams. Miles in Berlin. Columbia/Legacy: 93594, 1964, c2005. Concert with Wayne Shorter, Hancock, Carter, and Williams. Miles Davis Quintet 1965-1968: The Complete Columbia Studio Recordings. Columbia/Legacy: 90925, 6CD set, 1965-68, c2004. With Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams; includes all of E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, part of Filles de Kilimanjaro, plus additional material. E.S.P. Columbia/Legacy: 65683 (CS9150/CL2350), 1965, c1998. Includes “E.S.P.,” “Agitation,” “Little One,” “R.J.,” “Eighty-One,” “Mood,” and “Iris.” * The Complete Live at the Plugged Nickel. Columbia/Legacy: CXK 66955, 6CD set, 1965, c1995. Miles Smiles. Columbia/Legacy: 65682 (CS9401/CL2601), 1966, c1998. Includes “Orbits,” “Freedom Jazz Dance,” “Circle,” “Footprints,” “Dolores,” and “Gingerbread Boy.”

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Sorcerer. Columbia/Legacy: 65680 (CS9532/CL2732), 1967, c1998. Sbme Special Mkts. Includes “The Sorcerer,” “Limbo,” “Prince of Darkness,” “Masqualero,” “Vonetta,” and “Pee Wee.” Nefertiti. Columbia/Legacy: 65681 (CS9594), 1967, c1998. Includes “Nefertiti,” “Madness,” “Riot,” “Fall”, and “Hand Jive.” Miles Davis Quintet: Live in Europe 1967. Columbia: 94053, 3CD + DVD set, 1967, c2011. Miles in the Sky. Columbia/Legacy: 65684 (CS9628), 1968, c1998. Sbme Special Mkts. Includes “Country Son.” Filles de Kilimanjaro. Columbia/Legacy: 86555 (CS9750), 1968, c2002. Sbme. Includes “Filles de Kilimanjaro,” “Felon Brun,” and “Tout de Suite.” The Complete In a Silent Way Sessions. Columbia/Legacy: 90921 (CS9875), 3CD set, 1968-69, c2004. In a Silent Way. Columbia/Legacy: 86556 (CS9875), 1969, c2002. The Complete Bitches Brew Sessions. Columbia/Legacy: 90924, 4CD set, 1969-70, c2004. Bitches Brew. Columbia/Legacy: 54519 (GP 26), 2CD + 1DVD set, 1969, c2010. Includes “Bitches Brew” and “Pharaoh’s Dance.” The Complete Jack Johnson Sessions. Columbia/Legacy: 86359, 5CD set, 1970, c2003. + A Tribute to Jack Johnson. Columbia: 93599 (30455), 1970, c2005. It’s About That Time: Live at the Fillmore East (March 7, 1970). Columbia/Legacy: C2K 85191, 2CD set, 1970, c2001. + Black Beauty: Miles Davis at the Fillmore West. Columbia/Legacy: C2K 65138 (CBS/Sony: SOPJ 39-40), 2CD set, 1970, c1997. Live with Steve Grossman, Chick Corea, Dave Holland, Jack DeJohnette, and Airto Moreira. Note: In the author's opinion, this set is superior to Big Fun, At the Fillmore, In Concert, Jack Johnson, On the Corner, and Get Up with It. It provides the only recorded examples of extended improvisation by Chick Corea while he was with Davis, and might be the most exciting recorded playing of Corea's career. The concert was one of those nights when everything seemed to fall into place and forge ahead with blistering intensity. + At Fillmore: Live at the Fillmore East. Columbia/Legacy: C2K 65139 (CG 30038), 2CD set, 1970, c1997. Live-Evil. Columbia/Legacy: C2K 65135 (G 30954), 2CD set, 1970, c1997. Includes “Sivad,” “Selim,” and “Little Church.” Big Fun. Columbia/Legacy: C2K 63973 (PG 32866), 2CD set, 1969-72, c2000. Includes “Great Expectations.”

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The Cellar Door Sessions 1970. Columbia/Legacy: 93614, 6CD set, 1970, c2005. On the Corner. Columbia/Legacy: 63980 (PC 31906), 1972, c2000. + In Concert: Live at Philharmonic Hall. Columbia/Legacy: C2K 65140 (PG 32092), 2CD set, 1972, c1997. Get Up with It. Columbia/Legacy: C2K 63970 (PG 33236), 2CD set, 1970-74, c2000. Agharta. Columbia/Legacy: C2K 46799 (PG 33967), 2CD set, 1975, c1991. Pangaea. Columbia: C2K 46115 (CBS/Sony: 50DP 239-40), 2CD set, 1975, c1990. doo-bop. Warner Bros.: 26938, 1991, c1992. see CHARLIE PARKER - Savoy and Dial recordings see ANTHOLOGIES - Bebop, The Birth of the Third Stream, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz PAUL DESMOND, 1924-1977 (Alto Sax) + The Best of the Complete RCA Victor Recordings. RCA: 3634, 1961-65, c2000 + The Complete RCA Victor Recordings. RCA Victor: 68687, 5CD set, 1961-65, c1997. Desmond Blue. RCA Bluebird: 63898 (LSP 2438), 1961-62, c2002. Sbme. With strings; Jim Hall on some selections. Two of a Mind: Paul Desmond and Gerry Mulligan. Victor Jazz: 64019 (LSP 2624), 1962, c2003. Sbme. see DAVE BRUBECK – Ken Burns JAZZ, Dave Brubeck Octet, Jazz at Oberlin, Gone with the Wind, and Time Out

DAVE DOUGLAS, 1963- (Trumpet) Parallel Worlds. Soul Note: 121 226, 1993, c1993. The Tiny Bell Trio. Songlines: 1504, 1993, c1994. Tiny Bell Trio: Constellations. hatOLOGY: 666 (6173), 1995, c2009. * Tiny Bell Trio Live in Europe. Arabesque Jazz: 0126, 1996, c1997. + Witness. RCA Bluebird: 63763, 2000, c2001. + The Infinite. RCA Bluebird: 63918, 2001, c2002.

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see JOHN ZORN - Masada PAQUITO D’RIVERA, 1948- (Saxophone/Clarinet) + The Best of Paquito D’Rivera. Columbia/Legacy: 85342, 1981-87, c2002. Paquito D’Rivera/Arturo Sandoval: Reunion. Pimienta/Universal: 245 360 610 (Messidor 15805), 1990, c2004. Paquito D’Rivera Presents 40 Years of Cuban Jam Session. Pimienta/Universal: 245 360 632 (Messidor 15826), 1993, c2004. see IRAKERE - Best of… ROY ELDRIDGE, 1911-1989 (Trumpet) Little Jazz Trumpet Giant. Proper: BOX 69 (Vocalion/Brunswick/Decca, etc.), 4CD set, 1935-53, c2004. * Little Jazz. Jazz Archives/EPM: 158362 (Vocalion/Brunswick/Decca), 1935-44, c1995. Includes Teddy Hill and Fletcher Henderson selections and the following selections listed below: “Wabash Stomp,” “Florida Stomp,” “Heckler’s Stomp,” “After You’ve Gone” (2 versions), “Let Me Off Uptown,” “Rockin’ Chair,” “That Drummer’s Band,” “The Gasser,” and “I Can’t Get Started.” * Little Jazz. Columbia: 45275 (Vocalion), 1935-1940, c1989. Includes a selection with Teddy Hill (1935); four selections with Fletcher Henderson (1936); four selections with Teddy Wilson (1936) including “Blues in C# Minor”; and a Eldridge band date (1937): “Wabash Stomp,” “Florida Stomp,” “Heckler's Hop,” “After You've Gone,” and others. + Roy Eldridge with the Gene Krupa Orchestra: Uptown. Columbia: 45448, 1940-49, c1990. With Gene Krupa Orchestra and Anita O'Day (1940-42): “Green Eyes,” “Let Me Off Uptown,” “After You've Gone,” “Rockin' Chair,” “Harlem On Parade,” “The Marines' Hymn,” “That Drummer's Band,” “Massachusetts,” “Murder, He Says,” and others. + After You've Gone. Decca Jazz/GRP: 605 (Brunswick/Decca), 1943-46, c1991. Includes “The Gasser” (1943); “After You've Gone,” “I Can't Get Started” (1944); “All the Cats Join In,” “Hi Ho Trailus Boot Whip,” “Yard Dog,” and “Rockin' Chair” (1946). see COLEMAN HAWKINS - Tenor Giants see BILLIE HOLIDAY – Lady Day see ANTHOLOGIES - Anthology of Big Band Swing, The 1930's-The Small Combos and The Smithsonian Collection of Classic Jazz

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DUKE ELLINGTON, 1899-1974 (Piano, Big Band) Ken Burns JAZZ Collection: Duke Ellington. Sony/Legacy: 61444, 1927-60, c2000. Sbme Special Mkts. * The Duke Ellington Centenial Edition: The Complete RCA Victor Recordings. RCA: 63386, 24CD set, 1927-73, c1999. * Beyond Category: The Musical Genius of Duke Ellington. Buddah: 99362 (RCA 49000), 2CD set, 1927-67, c1999. The Essential Duke Ellington. Columbia/Legacy: C2K 89281, 2CD set, 1927-60, c2005. Mrs. Clinkscales to the Cotton Club: Vol. 1. JSP: 924 (Brunswick, Vocalion, OKeh, Victor), 4CD set, 1926-29, c2005. * Early Ellington. RCA Bluebird: 6852 (Victor), 1927-34, c1989. Includes “Creole Love Call” with Bubber Miley, “East St. Louis Toodle-oo,” “Black and Tan Fantasy,” “Mood Indigo,” “Creole Rhapsody,” and an early example of piano comping (first chorus of Hodges's alto solo on “The Mooche”). * Jungle Nights in Harlem. RCA Bluebird: 2499 (Victor), 1927-32, c1991. + Jubilee Stomp. RCA Bluebird: 66038 (Victor), 1928-34, c1992. + Early Ellington: The Complete Brunswick and Vocalion Recordings of Duke Ellington. Decca Jazz/GRP: GRD-3-640, 3CD set, 1926-31, c1994. + The Best of Early Ellington. Decca Jazz/GRP: 660, 1926-31, c1996. Includes “Black and Tan Fantasy,” “Mood Indigo,” and “Creole Rhapsody.” The Cotton Club to Sweden, Vol. 2. JSP: 936 (Victor, Brunswick, Columbia), 4CD set, 1929-40, c2007. * The Duke. Columbia/Legacy: 92684 (65841), 3CD set, 1927-61, c2004. Includes “East St. Louis Toodle-oo,” “Black and Tan Fantasy” (1927), “The Mooche” (1928), “It Don’t Mean a Thing If It Ain’t Got That Swing” (1932), “Caravan” (1937), “Prelude to a Kiss” (1938), “Sophisticated Lady” (1940), “Golden Cress,” “Sultry Serenade,” “On a Turquoise Cloud” (1947), “Take the A Train” (1951), “The Star-Crossed Lovers” (1956), and others. The Okeh Ellington. Columbia: C2K 46177, 2CD set, 1927-30, c1991. Includes “East St. Louis Toodle-oo,” “Black and Tan Fantasy,” “The Mooche,” “Mood Indigo,” and “Rockin' in Rhythm.” The Complete 1932-1940 Brunswick, Columbia and Master Recordings of Duke Ellington and His Famous Orchestra. Mosaic: MD11-248, 11CD set, 1932-40, c2010. (mail order - see page 122.)

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+ Reminiscing in Tempo. Columbia/Legacy: 48654, 1928-60, c1991. Includes “The Mooche” (1928), “Rockin’ in Rhythm” (1931), “It Don't Mean a Thing If It Ain't Got That Swing” (1932), “Reminiscing in Tempo” (1935), and “On a Turquoise Cloud” (1947). * Braggin' in Brass. Portrait/CBS: 44395 (Brunswick), 2CD set, 1938, c1989. The Complete 1936-1940 Variety, Vocalion and Okeh Small Group Sessions. Mosaic: MD7-235, 7C set, 1936-40, c2007. (mail order - see page 000) + The Duke's Men: Small Groups. Vol. 1. Columbia/Legacy: C2K 46995, 2CD set, 1934-38, c1991. + The Duke's Men: Small Groups. Vol. 2. Columbia/Legacy: C2K 48835. 2CD set, 1938-40, c1993. Groups led by Johnny Hodges, Rex Stewart, Cootie Williams, and Barney Bigard; Vol. 2 includes “Jeep’s Blues” and “Empty Ballroom Blues” which show the Sidney Bechet influence on Johnny Hodges. All are also on the Mosaic set. + Solos, Duets and Trios. RCA Bluebird: 2178-2 (Victor), 1932-1967, c1990. Includes 1940 duets with bassist Jimmy Blanton: “Mr. J.B. Blues” and “Pitter Panther Patter.”. * Duke Ellington: 1938. Smithsonian: 2003, 2LP set, 1938, c1976. * Duke Ellington: 1939. Smithsonian: 2010, 2LP set, 1939, c1977. * Duke Ellington: 1940. Smithsonian: 2013, 2LP set, 1940, c1978. * Duke Ellington: 1941. Smithsonian: 2027, 2LP set, 1941, c1981. + Never No Lament: The Blanton-Webster Band. RCA Bluebird: 50857 (Victor), 3CD set, 1940-42, c2003. Probably Ellington's best band: Johnny Hodges, Cootie Williams, Joe Nanton, Ben Webster, Jimmy Blanton, and others; includes “Jack the Bear,” “Conga Brava,” “Concerto for Cootie,” “Cottontail,” “Never No Lament (Do Nothing Til You Here from Me),” “A Portrait of Bert Williams,” “Harlem Air Shaft,” “All Too Soon,” “Sepia Panorama,” “In a Mellotone,” “Warm Valley,” “The Flaming Sword,” “Take the ‘A’ Train,” “Blue Serge,” “Bakiff,” “Chelsea Bridge,” “Raincheck,” “I Don’t Know What Kind of Blues I Got,” “Perdido,” “Main Stem,” and the 1940 Ellington-Blanton duets: “Mr. J.B. Blues” and “Pitter Panther Patter.” + The Complete RCA Victor Mid-Forties Recordings. RCA Victor: 63394 (6641), 3CD set, 1944-46, c1999. Includes Mercer Ellington's “Things Ain't What They Used to Be” with solos by Johnny Hodges, Lawrence Brown, and Taft Jordan; a 1945 version of “Mood Indigo” with a wordless vocal; the “Perfume Suite,” “Blue Cellophane”, “Transblucency,” “Black, Brown and Beige,” “I’m Beginning to See the Light,” and others. + The Best of the Complete RCA Victor Recordings, 1944-1946. RCA Bluebird: 63462, 1944-46, c2000. Includes “Things Ain't What They Used to Be,” “Transblucency,” and “I'm Beginning to See the Light.” * Happy-Go-Luck Local. Musicraft: 52, 1946, c1992.

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Includes a version of the “Deep South Suite” and “Golden Cress.” * 1946. Classics: 1015 (Victor/Musicraft), 1946, c1998. Includes a version of the “Deep South Suite.” * 1946-1947. Classics: 1051 (Musicraft/Columbia), 1946-47, c1999. Big band with Lawrence Brown, Tyree Glenn, Ray Nance, Shorty Baker, Dud Bascomb, Jimmy Hamilton, Johnny Hodges, and Oscar Pettiford; includes “Golden Cress” (featuring Lawrence Brown). + 1947. Classics: 1086 (Columbia), 1947, c1999. Includes “Boogie Bop Blues” (which has some great bass work) and “Sultry Serenade” (with solos by Tyree Glenn and Hodges). * 1947-1948. Classics: 1119 (Columbia), 1947-48, c2000. Includes “On a Turquoise Cloud” (with a wordless vocal, clarinet and muted trumpet, violin, and bass clarinet). (Note: All Classics label items are imports.) Ellington Uptown. Columbia/Legacy: 87066 (CL 830), 1947, 1951-52, c2004. Sbme Big band featuring Russell Procope and Jimmy Hamilton (“The Mooche”), Paul Gonsalves (“Take the 'A' Train”), and Louis Bellson (“Skin Deep”); also includes the “Liberian Suite” (1947). * The Complete Capitol Recordings of Duke Ellington. Mosaic: MD5-160, 5CD set, 1953-55, c1995. Includes all of Ellington Showcase. * Ellington Showcase. Capitol: T 679, LP, 1953-55, c[1956]. Big band including a feature for Harry Carney (“Serious Serenade”), a feature for Cat Anderson (“La Virgen de la Macarena”), and a new version of “Harlem Airshaft” (with Clark Terry soloing in the spots where Cootie Williams and Barney Bigard had soloed, Quentin Jackson taking what had been Tricky Sam Nanton's part on the original 1940 version, and other interesting differences that help cast light on the original). * The Best of Duke Ellington. Capitol Jazz: 31501, 1953-55, c1995. Includes “Serious Serenade,” “Harlem Airshaft,” and others. * Historically Speaking - The Duke. Avenue Jazz: 74315 (Bethlehem 60), 1956, c2001. Big band featuring Jimmy Hamilton, Ray Nance, Johnny Hodges, Quentin Jackson, and Britt Woodman; the first includes a violin feature for Ray Nance (“Lonesome Lullaby”) and two Billy Strayhorn pieces (“Midriff” and “Upper Manhattan Medical Group” - mistakenly credited to Ellington). Duke Ellington Presents.... Shout Factory: 37470 (Bethlehem 6005), 1956, c2005. Contains the Harry Carney feature, “Frustration.” Ellington at Newport: The Complete Concert. Columbia/Legacy: C2K 64932 (CL 934), 2CD set, 1956, c1999.

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+ A Drum Is a Woman. Columbia: CL 951, LP, 1956, c1957. *Duke 56/62. Vol. 1. CBS/France: 88653, 2LP set, 1956-62, c1984. Includes “Cop Out” (1957) featuring Paul Gonsalves. Such Sweet Thunder. Columbia/Legacy: 65568 (CL 1033), 1956-57, c1999. Sbme + Ellington Indigos. Columbia: 44444 (CS 8053/CL 1085), 1957, c1989. Big band featuring Hodges, Gonsalves, Hamilton, and Harold Shorty Baker; high points are the Hodges solo on “Prelude to a Kiss,” the Gonsalves solo on “Where or When,” and the Baker solo on “Willow Weep for Me.” Note: The music on the mono copy (CL 1085) of this album is not identical to that on the stereo copy (CS 8053); several different improvisations and a few alterations in ensemble playing occur. The mono copy also contains an entire tune not on the stereo copy, although it is mistakenly listed on the stereo copy's album jacket. That tune, “The Sky Fell Down,” is one of the prettiest Ellington compositions on the mono album, and it contains a gorgeous Ray Nance trumpet solo. The reissue (44444) has a previously unissued “All the Things You Are” and an alternate take of “Autumn Leaves” but not “The Sky Fell Down.” The Cosmic Scene. Mosaic: MCD-1001 (Columbia CL 1198), 1958, c2006. (mail order) Recording with abbreviated instrumentation: Hamilton, Gonsalves, and Terry plus three trombones, piano, bass, and drums. * Duke Ellington and His Orchestra Live at Newport 1958. Columbia/Legacy: C2K 53584 (CS 8072/CL 1245), 2CD set, 1958, c1994. Featuring Clark Terry, Jimmy Hamilton, Paul Gonsalves, Ray Nance, Harry Carney, Gerry Mulligan, and others. Duke’s Mixture/ At the Bal Masque. Collectables: 7856 (Columbia CS 8098/CL 1282), 1958, c2007. + Anatomy of a Murder [soundtrack]. Columbia/Legacy: 65569 (CL 1630), 1959, c1999. + Festival Session. Columbia/Legacy: 87044 (CL 1400), 1959, c2004. Big band with Gonsalves, Terry, Hamilton, Hodges, Russell Procope, and Nance: “Idiom '59,” “Launching Pad,” and others. The Ellington Suites. Fantasy: OJC-446 (Pablo 2310-762), 1959, 1971-72, c1990. Includes “Queen's Suite,” “Goutelas Suite,” and the “UWIS Suite.” Three Suites. Columbia: 46825 (CS 8397), 1960, c1990. Includes “Suite Thursday.”

Sbme Special Mkts.

Paris Blues [soundtrack]. Jazz Sound Track: 248137 (United Artists 4092), 1960, c2011. (import)

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Duke Ellington's Concert of Sacred Music. Status: 1015 c1997. (import)

(RCA

LSP-3582),

1965,

The Far East Suite. RCA Bluebird: 55614 (LSP-3782), 1966, c2003. Second Sacred Concert. Prestige: 24045 (Fantasy 8407/8), 1968, c1990. Latin American Suite. Fantasy: OJC-469 (8419), 1968, c1990. Afro-Eurasian Eclipse. Fantasy: OJC-645 (9498), 1971, c1991. Togo Brava Suite. Blue Note: 30082 (United Artists UAL 273/4), 1971, c1994. * Duke Ellington's Third Sacred Concert. RCA: APL1-0785, LP, 1973, c1975. see ANTHOLOGIES - Anthology of Big Band Swing, Big Band Jazz, Big Band Renaissance, The Greatest Jazz Concert in the World, Jazz Piano, Jive at Five, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz BILL EVANS, 1929-1980 (Piano) Bill Evans: The Complete Riverside Recordings. Riverside: 018, 12CD set, 1956-63, c1987. New Jazz Conceptions. Fantasy: OJC-025 (Riverside R-223), 1956, c1987. With Teddy Kotick and Paul Motian: “I Love You,” “Five,” “Easy Living,” “Displacement,” “Conception,” “Speak Low,” “Our Delight,” “My Romance,” and “I Got It Bad.” Everybody Digs Bill Evans. Riverside: 30182 (1129), 1958, c2007. With Sam Jones and Philly Joe Jones: “Peace Piece,” “Young and Foolish,” “What Is There to Say?,” “Oleo,” and others; Evans considered this to be among his very best playing on record. Portrait in Jazz. Riverside: 30678 (315), 1959, c2008. Includes “Autumn Leaves,” and “Peri’s Scope.” Explorations. Riverside: 32842 (351), 1961, c2011. With Scott LaFaro and Paul Motian; includes “Nardis.”. The Complete Village Vanguard Recordings, 1961. Riverside: 3RCD-4443, 3CD set, 1961, c2005. At the Village Vanguard. Riverside: FCD-60-017, 1961, c1986; or Sunday at the Village Vanguard. Riverside: 30509 (RLP-9376), 1961, c2008; and Waltz for Debby. Riverside: 32326 (RLP-9399), 1961, c2010. With LaFaro and Motian: “My Foolish Heart,” “Waltz for Debby,” “Alice in Wonderland,” “Gloria's Step,” “Milestones,” “Solar,” “All of You,” and others. Undercurrent. Blue Note: 38228 (UA 14003), 1962, c2002. Duets with Jim Hall.

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Intermodulation. Verve: 833 771-2 (V6-8655), 1966, c1988. Duets with Jim Hall. see MILES DAVIS - Miles Davis & John Coltrane: The Complete Columbia Recordings, Miles and Coltrane, '58 Sessions, and Kind of Blue see OLIVER NELSON - Blues and the Abstract Truth see ANTHOLOGIES - The Birth of the Third Stream, Jazz Piano, and The Smithsonian Collection of Classic Jazz (revised) BILL EVANS AS AN INFLUENCE * Piano Jazz in Czechoslovakia. Supraphon: SUA ST 55991, LP, c1968. Czech import anthology; the Jan Hammer Trio selections, “Responsibility” and “Autumn Leaves,” display Evans influence. Jan Hammer. The First Seven Days. Columbia/Legacy: 85401 (Nemperor 432), 1975, c2003. Sbme Special Mkts. “Light/Sun” and “Fourth Day” display Bill Evans influence. GIL EVANS, 1912-1988 (Composer/Arranger) see MILES DAVIS - The Birth of the Cool, Miles Davis/Gil Evans: The Complete Columbia Studio Recordings, Miles Ahead, Porgy and Bess, and Sketches of Spain see CLAUDE THORNHILL - Claude Thornhill and His Orchestra Play the Great Jazz Arrangements of Gil Evans, Gerry Mulligan, and Ralph Aldrich and Best of the Big Bands see ANTHOLOGIES - The Bebop Era, Big Band Jazz, Big Band Renaissance, and Jazz in Revolution ELLA FITZGERALD, 1918-1996 (Jazz Singer) Ken Burns JAZZ Collection: Ella Fitzgerald. Verve: 549 087-2 (Decca/Verve), 1936-63, c2000. The Best of Ella Fitzgerald. Decca Jazz/GRP: 659, 1935-55, c1996. Includes “A-Tisket A-Tasket,” “How High the Moon,” and others. Ella Fitzgerald Sings the Cole Porter Song Book. Verve: 314 537 257-2 (4001-2), 2CD set, 1956, c1997. Ella Fitzgerald Sings the Rodgers & Hart Song Book. Verve: 314 537 258-2 (4002-2), 2CD set, 1956, c1997. + Ella Fitzgerald Sings the George & Ira Gershwin Song Book. Verve: 314 539 759-2 (4029-5), 4CD set, 1959, c1998. Ella Fitzgerald at the Opera House. Verve: 831 269-2 (MGV 8264), 1957, c1986. Includes “Lady Be Good.”

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The Complete Ella in Berlin: Mack the Knife. Verve: 314 519 564-2 (MGV 4041), 1960, c1993. Includes “Mack the Knife” and “How High the Moon.” Clap Hands, Here Comes Charlie! Verve: 422 835 646-2 (MGV 4053), 1961, c1989. Includes “Spring Can Really Hang You Up the Most” and “Cry Me a River.” see CHARLIE PARKER - Charlie Parker: Jazz at the Philharmonic 1949 CHARLES GAYLE, 1939- (Tenor Sax/Piano) Consecration. Black Saint: 120 138-2, 1993, c1993. Kingdom Come. Knitting Factory: 157, c1994. STAN GETZ, 1927-1991 (Tenor Sax) The Complete Savoy Recordings. Savoy Jazz: 17121 (12114), 1946-47, c2002. Includes “Opus de Bop,” “And the Angels Swing,” “Running Water,” and “Don't Worry About Me.” Quartets. Fantasy: OJC-121 (Prestige 7002), 1949-50, c1991. With Al Haig: “There's a Small Hotel,” “Indian Summer,” and others. + The Complete Roost Recordings. Roost/Blue Note: 59622, 3CD set, 1950-54, c1997. With Al Haig, Horace Silver, Jimmy Raney, and Roy Haynes; also includes “Moonlight in Vermont” (1952) with guitarist Johnny Smith. * Best of the Roost Years. Blue Note: 98144, 1950-52, c1991. * The Roost Quartets. Roulette Jazz: 96052, 1950-51, c1991. With Al Haig, Horace Silver, Tommy Potter, and Roy Haynes. * At Storyville. Roulette: 94507 (Roost), 1951, c1990. With Jimmy Raney, Al Haig: “Rubber Neck,” “Mosquito Knees,” “Hershey Bar,” and others. + West Coast Jazz. Verve: 314 557 549-2 (Norgran 1032), 1955, c1999. + Best of the West Coast Sessions. Verve: 314 537 084-2, 1955-57, c1997. Stan Getz and J.J. Johnson at the Opera House. Verve: 831 272-2 (MGV-8265), 1957, c1986. Live concert recording by Stan Getz, J.J. Johnson, Oscar Peterson, Herb Ellis, Ray Brown, and Connie Kay: “Billie's Bounce,” “My Funny Valentine,” “Crazy Rhythm,” “Yesterdays,” “It Never Entered My Mind,” and “Blues in the Closet”; note that the original stereo version (Verve 68490) was not the same music as in the mono version (V6-8265); the CD reissue includes both stereo and mono versions.

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Focus. Verve: 314 521 419-2 (V6-8412), 1961, c1997. Eddie Sauter string arrangements; Getz improvises with no preset melody or chord progressions, using only the string parts as his guide. Jazz Samba. Verve: 314 521 413-2 (MGV-8432), 1962, c1997. With Charlie Byrd: “Desafinado.” Getz/Gilberto. Verve: 314 521 414-2 (V6-8545), 1963, c1997. With Antonio Carlos Jobim, Joao and Astrud Gilberto: “Girl from Ipanema,” “Desafinado,” and others. see ANTHOLOGIES - The Bebop Era DIZZY GILLESPIE, 1917-1993 (Trumpet) Ken Burns JAZZ Collection: Dizzy Gillespie. Verve: 549 086-2, 1940-67, c2000. * The Development of an American Artist. Smithsonian: 2004, 2LP set, 1940-46, c1976. Gillespie with his own groups and the bands of Les Hite, Cab Calloway, Coleman Hawkins, Billy Eckstine, Boyd Raeburn, and others; includes “I Can’t Get Started” (1945). + Odyssey 1945-1952. Savoy Jazz: 17109 (Musicraft/Savoy), 3CD set, 1945-52, c2002. Groovin’ High. Savoy: 0152 (Guild/Musicraft), 1945-46, c1992. Groovin’ High: Classic Recordings. Naxos Jazz: 8.120582, 1942-49, c2002. Shaw ‘Nuff. Collectables: 7729 (Musicraft), 1945-46, c2006. Combos with Charlie Parker, Al Haig, Curly Russell and Sid Catlett (1945): “Salt Peanuts,” “Hot House,” “All the Things You Are,” “Groovin’ High,” “Shaw ‘Nuff,” and “Blue ‘n’ Boogie”; big band (1946): “Things to Come” and “Emanon.” Odyssey also contains all recordings from School Days (below). Dizzy Gillespie, Charlie Parker: Town Hall, New York City, June 22, 1945. Uptown: 27.51, 1945, c2005. The Complete RCA Victor Recordings. RCA Bluebird: 66528, 2CD set, 1937-1949, c1995. Combo with Don Byas, Bill DeArango, Milt Jackson, Al Haig, Ray Brown, and J.C. Heard (1946): “Anthropology,” “52nd St. Theme,” “Ol' Man Rebop,” and “Night in Tunisia”; big band dates (1947-49) include the Gillespie-George Russell collaboration “Cubano Be - Cubano Bop,” Gillespie's “Manteca” (both featuring conga drummer Chano Pozo), Tadd Dameron's “Good Bait,” John Lewis’s “Two Bass Hit,” Gillespie’s “Woody’n You (Algo Bueno),” and others. Night in Tunisia: The Very Best of…. RCA Bluebird: 84866, 1944-49, c2006. Includes most of the above titles. + School Days. Savoy Jazz: 17256 (Regent 6043), 1947, 1951-52, c2003. Includes “We Love to Boogie” (1951) which contains an early example of John Coltrane's solo style (included here only as an example of Coltrane).

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Duets. Verve: 835 253-2 (MGV-8260), 1957, c1988. With Sonny Stitt and Sonny Rollins; includes a version of Gillespie’s “Con Alma.” Sonny Side Up. Verve: 314 521 426-2 (MGV-8262), 1957, c1997. With Stitt, Rollins, Ray Bryant, Tom Bryant, and Charlie Persip: “Eternal Triangle,” “I Know That You Know,” etc.; contains some of the fastest, most fluent tenor sax playing on record; Rollins, Gillespie, and Stitt keep up with each other at their fiery best on “Eternal Triangle”; some authorities consider this to be the best Rollins on record. Dizzy Gillespie at Newport. Verve: 513 754-2 (V6-8830/MGV8242), 1957, c1992. Live recording made by Gillespie big band at Newport Jazz Festival; with Lee Morgan, Al Grey, Benny Golson, Billy Mitchell, Wynton Kelly, etc.; Gillespie considers his “Dizzy's Blues” solo here to be one of his best on record. see CHARLIE PARKER - Savoy and Dial recordings and Bird and Diz see ANTHOLOGIES - Bebop, The Bebop Revolution, Big Band Jazz, Big Band Renaissance, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz BENNY GOODMAN, 1909-1986 (Clarinet/Big Band) Ken Burns JAZZ Collection: Benny Goodman. Sony/Legacy: 61445, 1927-49, c2000. * B.G. & Big Tea in NYC. Decca Jazz/GRP: 609, 1929-34, c1992. Red Nichols and His Five Pennies: “Dinah” with Goodman and Jack Teagarden (1929); plus Joe Venuti-Eddie Lang: “Farewell Blues” and “Beale St. Blues” with Teagarden, Frank Signorelli, Joe Tarto, and Neil Marshall (1931). + The Birth of Swing. RCA Bluebird: 61038 (Victor), 3CD set, 1935-36, c1991. Big band recordings including “Japanese Sandman,” “Blue Skies,” “When Buddha Smiles,” “King Porter Stomp,” and “Down South Camp Meeting.” Sing Sing Sing. RCA Bluebird: 5630 (Victor), 1935-38, c1987. Big band recordings including “King Porter Stomp,” “Down South Camp Meeting,” and “Sing Sing Sing.” The Centennial Collection. RCA Bluebird: 60088 (Victor), 1935-39, c2004. + The King of Swing. RCA Bluebird: 63902 (Victor), 1935-39, c2002. Big band recordings including “King Porter Stomp,” “Sometimes I’m Happy,” “Wrappin’ It Up,” and “Sing Sing Sing.” + The Harry James Years. Vol. 1. RCA Bluebird: 66155, 1937-38, c1993. + The Complete RCA Victor Small Group Recordings. Victor Jazz: 68764, 3CD set, 1935-39, c1997. + The Legendary Small Groups. RCA Bluebird: 63994, 1935-39, c2002. Trio and quartet recordings with Teddy Wilson, Lionel Hampton, and Gene Krupa or Dave Tough; includes “Body and Soul.”

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Benny Goodman at Carnegie Hall. Columbia/Legacy: 65143 (OSL 160), 2CD set, 1938, c1999. Includes “Don't Be That Way,” “One O'Clock Jump,” and “Shine,” with Count Basie, Lester Young, Lionel Hampton, Harry James, Gene Krupa, Teddy Wilson, and others; “Avalon,” “Blue Reverie,” and “Blue Room,” with Johnny Hodges, Teddy Wilson, Gene Krupa, Harry James, and others. + Benny Goodman Sextet Featuring Charlie Christian. Columbia: 45144, 1939-41, c1989. Includes “I Found a New Baby.” see ANTHOLOGIES - Big Band Jazz, Big Band Renaissance, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz DEXTER GORDON, 1923-1990 (Tenor Sax) Settin’ the Pace. Proper: BOX 16 (Savoy, Dial), 4CD set, 1943-50, c2001. (import) Settin’ the Pace. Savoy Jazz: 17027 (12130), 1945-47, c1998. With Argonne Thornton, Gene Ramey, Ed Nicholson (1945): “Blow Mr. Gordon,” “Dexter's Deck,” and others; with Leonard Hawkins, Bud Powell, Curly Russell, and Max Roach (1946): “Long Tall Dexter,” “Dexter Rides Again,” “Dexter Digs In,” and others; with Leo Parker, Tadd Dameron, Curly Russell, and Art Blakey (1947): “Settin' the Pace,” “Dexter's Riff,” etc. Dexter Gordon on Dial: the Complete Sessions. Spotlite: SPJ-130 (Dial), 1947, c1994. With Red Callender, Chuck Thompson or Roy Porter, Charles Fox, Jimmy Rowles, Jimmy Bunn, Teddy Edwards, and Wardell Gray: “Lullaby in Rhythm,” “The Chase,” “Sweet and Lovely,” “The Duel,” “Bikini,” and others. see DIZZY GILLESPIE - Groovin’ High see HERBIE HANCOCK - Takin' Off see ANTHOLOGIES - Jazz in Revolution and The Smithsonian Collection of Classic Jazz KENNY G [Gorelick], 1959- (Soprano Sax) Duotones. Arista: 8496, c1986. Includes “Songbird.” Silhouette. Arista: 8457, c1988. Breathless. Arista: 18646, c1992. The Moment. Arista: 18935, c1996. see JEFF LORBER HERBIE HANCOCK, 1940- (Keyboards) Ken Burns JAZZ Collection: Herbie Hancock. Sony/Legacy: 61446 (Blue Note/Columbia), 1962-96, c2000. Sbme Special Mkts.

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Best of Herbie Hancock: The Blue Note Years. Blue Note: 91142 (89907), 1962-69, c1988. Includes “Watermelon Man,” “Maiden Voyage,” and “Dolphin Dance.” Takin' Off. Blue Note: 92757 (84109), 1962, c2007. With Dexter Gordon, Freddie Hubbard, and Billy Higgins; includes “Watermelon Man.” Empyrean Isles. Blue Note: 98796 (84175), 1964, c1998. With Freddie Hubbard, Ron Carter, and Tony Williams. Maiden Voyage. Blue Note: 95331 (84195), 1965, c1999. Pianist-composer Hancock leading the Miles Davis group of 1963, with trumpeter Freddie Hubbard instead of Davis; with George Coleman, Ron Carter, and Tony Williams; all tunes composed by Hancock: “Maiden Voyage,” “Dolphin Dance,” “Little One,” and others; it contains some of Hubbard's best recorded solos and showcases Hancock's best writing. Speak Like a Child. Blue Note: 64468 (84279), 1968, c2005. Includes a trio recording of “The Sorcerer.” The Prisoner. Blue Note: 25649 (84321), 1969, c2000. With solos by Johnny Coles, Joe Henderson, Garnett Brown, and Hancock; the interplay between pianist Hancock, bassist Buster Williams, and drummer Al Heath on “He Who Lives in Fear” conceptually resembles the Bill Evans-Scott LaFaro-Paul Motian approaches; also includes “I Have a Dream.” + Mwandishi Herbie Hancock: The Complete Warner Bros. Recordings. Warner Bros: 45732 (1898/2617), 2CD set, 1969-71, c1994. Originally Mwandishi and Crossings; these are from his space music period that was post-hard bop, pre-jazz/rock. Sextant. Columbia/Legacy: 64983 (32212), 1972, c1998. One of the precursors of the jazz/rock styles.

Sbme Special Mkts.

Head Hunters. Columbia/Legacy: 65123 (32731), 1973, c1997. Hancock's best-selling record prior to Future Shock; a funk/jazz style: “Chameleon” and a new “Watermelon Man.” Thrust. Columbia/Legacy: 64984 (32965), 1974, c1998. With Hancock (electric piano and synthesizers), Bennie Maupin (soprano and tenor sax, saxello, bass clarinet, alto flute), Paul Jackson (electric bass), Mike Clark (drums), and Bill Summers (percussion); all compositions by Hancock: “Spank A Lee,” “Butterfly,” “Actual Proof,” “Palm Grease”; this recording is included as an example of Hancock's popular mid-1970's band, which was heavily influenced by Sly Stone and funk; Hancock has stated that, along with Miles Davis, My Funny Valentine, Thrust represents his best work.

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* Death Wish. One Way: 26659 (Columbia 33199), 1974, c1996. Film score by Hancock: “Death Wish,” “Suite Revenge,” “Fill Your Hand,” etc.; most arranged by Jerry Peters; this is included as an example of Hancock's versatility as a composer; the first three selections on its second side are beautiful, classical type pieces in the manner of Erik Satie and other early 20th century composers. Future Shock. Columbia/Legacy: 65962 (38814), 1983, c1999. Includes “Rockit.”

Sbme Special Mkts.

see MILES DAVIS - Seven Steps to Heaven, In Europe, My Funny Valentine, Four and More, Miles Davis Quintet 1965-1968: The Complete Columbia Studio Recordings, Miles in Berlin, E.S.P., Plugged Nickel, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro see JOE HENDERSON - Power to the People see WAYNE SHORTER - Speak No Evil see ANTHOLOGIES - Jazz Piano and Ken Burns JAZZ COLEMAN HAWKINS, 1904-1969 (Tenor Sax) Classic Coleman Hawkins Sessions 1922-1947. Mosaic: MD8-251 (Victor/Bluebird/Signature), 8CD set, 1922-1947, c2012. * Ken Burns JAZZ Collection: Coleman Hawkins. Verve: 549 085-2, 1926-63, c2000. The Essential Sides Remastered. JSP: 931, 4CD set, 1929-39, c2006. All pre-“Body and Soul.” The Hawk in Europe. ASV: 5054 (Swing), 1935-37, c1988. In Paris: “Honeysuckle Rose” and “Crazy Rhythm” with Benny Carter and Django Reinhardt. * The Centennial Collection. RCA Bluebird: 60086 (Victor/Bluebird), 1929-57, c2004. Body and Soul. Victor Jazz: 68515 (Victor/Bluebird), 1939-56, c1996. All sample a variety of recording sessions including “Body and Soul” (1939) and a 1947 bop date with Fats Navarro (“Half Step Down, Please”); “When Lights Are Low.” + Tenor Giants: Coleman Hawkins and Chu Berry. Commodore/Verve: 543 271-2, 1938-43, c2000. With Benny Carter, Roy Eldridge, and others; includes “I Can’t Believe That You’re in Love with Me” (1940). * The Complete Coleman Hawkins on Keynote. Mercury: 830 960, 4CD set, 1944, c1987. Includes sessions with Teddy Wilson, Charlie Shavers, Billy Taylor, and Denzil Best: “My Man” and “El Salon de Gutbucket”. see BENNY CARTER - Further Definitions see LIONEL HAMPTON - Ring Dem Bells

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see FLETCHER HENDERSON see DJANGO REINHARDT - All Star Sessions see ANTHOLOGIES - Classic Tenors, Jive at Five, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz JOE HENDERSON, 1937-2001 (Tenor Sax) Page One. Blue Note: 98795 (84140), 1963, c1999. In ‘n’ Out. Blue Note: 96507 (84166), 1964, c2004. Joe Henderson: The Milestone Years. Milestone: 4413, 8CD set, 1967-75, c1994. NOTE: includes all Milestone sessions cited in text. Tetragon. Fantasy: OJC-844 (Milestone 9017), 1967-68, c1995. With Kenny Barron or Don Friedman, Ron Carter, Louis Hayes or Jack DeJohnette: “Invitation,” “Tetragon,” and others. Power to the People. Milestone: 30130 (9024), 1969, c2007. With Herbie Hancock, Ron Carter, Jack DeJohnette, and, on two tunes, Mike Lawrence: “Black Narcissus,” “Power to the People,” “Lazy Afternoon,” and others; four tunes are written by Henderson, one by Carter. + Double Rainbow: The Music of Antonio Carlos Jobim. Verve: 314 527 222-2, 1994, c1995. see HERBIE HANCOCK - The Prisoner see HORACE SILVER - Song for My Father and Cape Verdean Blues EARL HINES, 1903-1983 (Piano) * The Earl Hines Collection: Piano Solos, 1928-1940. Collector’s Classics: COCD-11 (QRS/Okeh/Brunswick/Bluebird), 1928-40, c1993. (import) Includes “Blues in Thirds,” “Chimes in Blues,” and “Fifty-Seven Varieties.” * Piano Man. RCA Bluebird: 6750, 1939-42, c1989. Solo and big band; includes “Blues in Thirds” with Sidney Bechet. see LOUIS ARMSTRONG - Louis Armstrong and Earl Hines and Hot Five. Vol. 3 see ANTHOLOGIES - Jazz Piano and Smithsonian Collection of Classic Jazz BILLIE HOLIDAY, 1915-1959 (Singer) Ken Burns JAZZ Collection: Billie Holiday. Verve: 549 081-2 (Columbia/Decca/Verve), 1935-58, c2000. Lady Day: The Master Takes and Singles. Columbia/Legacy: 10955 (Columbia/Brunswick/Vocalion/OKeh), 4CD set, 1935-42, c2007.

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Billie Holiday/Lester Young: A Musical Romance. Columbia/Legacy: 86635, 1937-38, 1958, c2002. Sbme Special Mkts. The Billie Holiday Collection 1. Columbia/Legacy: 87067, 1935-36, c2003. + The Billie Holiday Collection 2. Columbia/Legacy: 87068, 1936-37, c2003. + The Billie Holiday Collection 3. Columbia/Legacy: 87069, 1937-39, c2003. All with Lester Young, Buck Clayton, Teddy Wilson, Roy Eldridge, and others; includes “He’s Funny That Way”; “Back in Your Own Backyard” is only on the 4CD set. + The Billie Holiday Collection 4. Columbia/Legacy: 87070, 1939-44, c2003. Includes “Gloomy Sunday” and “God Bless the Child.” The Complete Commodore Recordings. Commodore/GRP: CMD2-401, 2CD set, 1939, 1944, c1997. The Commodore Master Takes. Commodore/Verve: 543 272-2, 1939, 1944, c2000. Includes “Strange Fruit” and “Fine and Mellow.” The Complete Decca Recordings. Decca Jazz/GRP: GRD2-601, 2CD set, 1944-50, c1991. Includes “Lover Man,” “Good Morning Heartache,” and “God Bless the Child.” + Solitude. Billie Holiday Story, 2. Verve: 314 519 810-2 (Clef), 1952, c1993. Includes “These Foolish Things.” Lady in Satin. Columbia/Legacy: 65144 (CS8048), 1958, c1997. See ANTHOLOGIES - Ken Burns JAZZ and Smithsonian Collection of Classic

Jazz

FREDDIE HUBBARD, 1938-2008 (Trumpet) see ART BLAKEY - Mosaic, Three Blind Mice, Caravan, and Ugetsu see ORNETTE COLEMAN - Free Jazz see JOHN COLTRANE - Olè see HERBIE HANCOCK - Maiden Voyage and Empyrean Isles for some of Hubbard's best recorded solos see J.J. JOHNSON - J.J. Inc. see OLIVER NELSON - Blues and the Abstract Truth see WAYNE SHORTER - Speak No Evil IRAKERE (Cuban band) The Best of Irakere. Columbia: 57791, 1978-79, c1994. Sbme Special Mkts. With Chucho Valdés, Paquito D’Rivera, and Arturo Sandoval. + Live at Ronnie Scott’s. World Pacific: 80598, 1991, c1993. With Chucho Valdés. BOB JAMES, 1939- (Keyboards) Bob James & Earl Klugh: One on One. Koch: 9941 (Warner Bros. 45141), 1979, c2006.

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Double Vision. Warner Bros.: 25393, c1986. With David Sanborn. Fourplay: Fourplay. Warner Bros.: 26656, c1991. Fourplay: Between the Sheets. Warner Bros.: 45340, c1993. KEITH JARRETT, 1945- (Piano) * Foundations: The Keith Jarrett Anthology. Rhino: 71593, 2CD set, 1966-71, c1994. Includes work with Art Blakey, Charles Lloyd, Gary Burton, and trio/quartet with Charlie Haden, Paul Motian, and Dewey Redman. Somewhere Before. Atlantic (Vortex 2012), 1969, c2010. (import) With Charlie Haden and Paul Motian; includes “Pretty Ballad.” Facing You. ECM: 1017, 1971, c2000. Solo piano; all compositions by Jarrett: “In Front,” “Ritooria,” and others. In the Light. ECM: 1033/34, 2CD set, 1973, c2000. The Impulse Years 1973-1974. Impulse!: IMPD4-237, 4CD set, 1973-74, c1997. Includes Death and the Flower, Backhand, and other material. + Death and the Flower. Impulse!: 139 (A-9301), 1974, c1994. Quartet with Dewey Redman, Charlie Haden, and Paul Motian. + Backhand. Impulse!: 9305, LP, 1974, c1975. With Redman, Haden, Motian, and Guilherme Franco: “In Flight,” “Kuum,” “Valpallia,” and “Backhand.” Belonging. ECM: 1050, 1974, c2000. With Garbarek, Palle Danielsson, and Jon Christensen; all tunes by Jarrett: “Spiral Dance,” “Blossom,” “Long as You Know,” “You're Living Yours,” “Belonging,” “The Windup,” and “Solstice.” + Mysteries: the Impulse! Years. Impulse!: IMPD4-189, 4CD set, 1975-76, c1996. With Redman, Haden, Motian, and Guilherme Franco; includes Shades (A-9322), Byablue (A-9331), Bop-Be (A-9334), and additional material; songs include “Shades of Jazz,” “Pocket Full of Cherry,” and “Rainbow.” Staircase. ECM: 1090, 2CD set, 1976, c2000. Solo piano. Eyes of the Heart. ECM: 1150, 1976, c2000. Quartet with Redman, Haden, and Motian; includes “Encore.” * Silence. Impulse!: 117 (A-9331/A-9334), 1977, c1992. Quartet with Redman, Haden, and Motian; includes Byablue (9331) and Bop-Be (9334).

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My Song. ECM: 1115, 1977, c1999. With Jan Garbarek, Palle Danielsson, and Jon Christensen. The Cure. ECM: 1440, 1990, c1991. Trio with Gary Peacock and Jack DeJohnette. Radiance. ECM: 1960/61, 2CD set, 2000, c2005. Solo piano. see ANTHOLOGIES - Jazz Piano KEITH JARRETT AS SIDEMAN Charles Lloyd: Forest Flower/Soundtrack. Rhino: 71746 (Atlantic 1473/1519), 1966, 1969, c1994. see Foundations: The Keith Jarrett Anthology (above) See ART BLAKEY – Buttercorn Lady see CHARLIE HADEN - Closeness KEITH JARRETT AS INFLUENCE + Art Lande & Jan Garbarek: Red Lanta. ECM: 1038, 1973, c1987. Lande's playing here suggests the work of Keith Jarrett. * Dave Liebman: Forgotten Fantasies. A&M/Horizon: SP-709, LP, 1975, c1976. With Richie Beirach; the piano work here suggests Jarrett. Brad Mehldau: Art of the Trio 4: Back at The Vanguard. Warner Bros.: 47463, 1999, c1999. J. J. JOHNSON, 1924-2001 (Trombone) + Origins: The Savoy Sessions. Savoy Jazz: 17127 (12106), 1946-49, c2002. Includes “Coppin' the Bop,” “Jay Jay,” and “Jay-bird.” The Eminent Jay Jay Johnson. Vols. 1 & 2. Blue Note: 32143/32144 (1505/1506), 2CDs, 1953-55, c2001. With Clifford Brown, Jimmy Heath, John Lewis, Percy Heath, and Kenny Clarke (1953): “Turnpike,” “Lover Man,” “Get Happy,” “Sketch 1,” “Capri,” and “It Could Happen to You”; with Wynton Kelly, Charles Mingus, Kenny Clarke, and Sabu (1954): “Jay,” “Old Devil Moon”; with Hank Mobley, Horace Silver, and Paul Chambers (1955). * The Complete Columbia J.J. Johnson Small Group Sessions. Mosaic: MD7-169, 7CD set, 1956-61, c1996. Includes First Place, Blue Trombone, J.J. Inc., and others.

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Trombone Master. Columbia: 44443, 1957-60, c1989. Compilation from various Columbia sessions. First Place. American Jazz Classics: 99003 (Columbia CL 1030), 1957, c2009. (import) With Tommy Flanagan, Paul Chambers, and Max Roach. Blue Trombone. American Jazz Classics: 99002 (Columbia CL 1303), 1957, c2009. (import) With Bobby Jaspar, Tommy Flanagan, and Elvin Jones. + J.J. Inc. Columbia/Legacy: 65296 (CL 1606), 1960, c1997. With Freddie Hubbard, Clifford Jordan, and Cedar Walton; includes “Aquarius.” see STAN GETZ - Stan Getz and J.J. Johnson at the Opera House see ANTHOLOGIES - The Birth of the Third Stream JAMES P. JOHNSON, 1894-1955 (Piano) * Harlem Stride Piano. Hot ‘n Sweet/EPM: 151032 (OKeh/Victor/Columbia), 1921-29, c1992. * Harlem Stride Piano 1921-1929. Jazz Archives/EPM: 158952, 1921-29, c1992. Both include “Carolina Shout” (1921). + Snowy Morning Blues. Decca Jazz/GRP: 604 (Brunswick), 1930, 1944, c1991. Includes “You've Got to Be Modernistic” and “Jingles” (1930). see ANTHOLOGIES - Jazz Piano, Piano in Style, and The Smithsonian Collection of Classic Jazz STAN KENTON, 1912-1979 (Big Band) * The Complete Capitol Studio Recordings of Stan Kenton 1943-47. Mosaic: MD8-163, 8CD set/MQ12-163, 12LP set, 1943-47, c1995. Includes “Artistry in Rhythm,” “Eager Beaver,” “Tampico,” and others. The Best of Stan Kenton. Capitol: 31504, 1943-61, c1995. Includes “Artistry in Rhythm” and “Eager Beaver.” * Innovations Orchestra. Capitol Jazz: 59966, 2CD set, 1950-51, c1997. Includes Pete Rugolo’s “Mirage.” New Concepts of Artistry in Rhythm. Capitol: 92865 (T 383), 1952, c1989. Arrangements by Gerry Mulligan, Bill Russo, Bill Holman; solos by Conte Candoli, Lee Konitz, Maynard Ferguson, and Frank Rosolino: “My Lady,” “23 Degrees N, 82 Degrees W” and “Portrait of a Count.” Adventures in Jazz. Capitol Jazz: 21222 (T 1796), 1961, c1999. With mellophoniums; Kenton felt this to be one of his best recordings; includes Bill Holman's arrangement of “Malaguena” and Dee Barton's “Turtle Talk” and “Waltz of the Prophets.”

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+ Retrospective. Capitol: 97350, 4CD set, 1943-1968, c1992. Includes “Artistry in Rhythm,” “Eager Beaver,” “Tampico,” and others. (The following list of Kenton recordings is organized by arranger.) DEE BARTON + Stan Kenton Conducts the Jazz Compositions of Dee Barton. Creative World: 1022 (Capitol ST 2922), LP, 1967, c1982. ROBERT CURNOW National Anthems of the World. Creative World: 1060, 1972, c2010. Stan Kenton Plays Chicago. Creative World: 1072, 1974, c1992. RUSS GARCIA * Stan Kenton Conducts The Los Angeles Neophonic Orchestra. Capitol: 94502 (SMAS 2424), 1965, c1998. Includes “Adventures in Emotions, Parts I-V.” ROBERT GRAETTINGER + The City of Glass. Capitol: 32084 (T 736), 1951, c1995. BILL HOLMAN * Stan Kenton: The Complete Capitol Recordings of the Holman and Russo Charts. Mosaic: MD4-136, 4CD set, 1950-63, c1991. + Kenton Showcase. Capitol Jazz: 25244 (W 524), 1952-54, c2000. Contemporary Concepts. Capitol: 42310 (T 666), 1955, c2003. STAN KENTON * Collector's Choice. Creative World: 1027, LP, 1951. * Jazz Compositions of Stan Kenton. Creative World: 1078 (Capitol), LP, 1946-56. Includes “Eager Beaver,” “Opus in Pastels,” “Concerto to End All Concertos,” and others. * Kenton/Wagner. Creative World: 1024 (Capitol 2217), LP, 1964. BILL MATHIEU Standards in Silhouette. Capitol: 94503 (1394), 1959, c1998. LENNIE NIEHAUS The Stage Door Swings. Capitol: 77551 (1166),

1958, c2005.

The Sophisticated Approach. Capitol Jazz: 52994 (1674), 1961, c2006. * Adventures in Standards. Creative World: 1025, LP, 1961.

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JOHNNY RICHARDS Cuban Fire. Capitol: 96260 (T 731), 1956, c1991. Back to Balboa. Capitol Jazz: 93094 (Capitol T 995), 1958, c2004. * Adventures in Time: A Concerto for Orchestra. Capitol: 55454 (1844), 1962, c1997. GENE ROLAND * Viva Kenton! Capitol Jazz: 60444 (1305), 1959, c2005. * Adventures in Blues. Capitol Jazz: 20089 (1985), 1960-61, c1999. PETE RUGOLO + Stan Kenton Encores. Creative World: 1034 (Capitol T155), LP, 1946-47, c[197?]. * A Concert in Progressive Jazz. Creative World: 1037 (Capitol T172), LP, 1947. The Kenton Touch/Lush Interlude. Collector’s Choice: 81725 (Capitol 1276), 2CD set, 1958, c2003. BILL RUSSO Portraits on Standards. Capitol: 31571 (T 462), 1951-54, c2001. + Kenton Showcase. Capitol Jazz: 25244 (W 524), 1954, c2000. Includes “Egdon Heath,” and others. see under KENTON ARRANGERS: BILL HOLMAN see ANTHOLOGIES - Big Band Jazz, Big Band Renaissance, and Mirage KING CURTIS [Ousley], 1934-1971 (Tenor Sax) King of the Sax. Fuel 2000: 61378 (Enjoy), [1962], c2004. Have Tenor Sax Will Blow/Live at Small’s Paradise. Collectables: 6418 (Atco), 1959, c2000. Soul Meeting. Prestige: 24033 (7222), 1960, c1994. SEE Oliver Nelson - Soul Battle ANDY KIRK, 1898-1992 (Bandleader) * Andy Kirk & The 12 Clouds of Joy with Mary Lou Williams. ASV Living Era: 5108 (Decca), 1929-40, c1993. * Andy Kirk & Mary Lou Williams: Mary’s Idea. Decca Jazz/GRP: 622, 1936-41, c1993. Mary Lou Williams’ compositions, arrangements, and piano for Andy Kirk and His Twelve Clouds of Joy.

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EARL KLUGH, 1954- (Guitar) Living Inside Your Love. Blue Note: 77544 (Liberty 667), 1976, c2005. * Low Ride. Capitol: 12253 (46007), c1983. see BOB JAMES - One on One LEE KONITZ, 1927- (Alto Sax) Subconscious Lee. Fantasy: OJC-186 (Prestige 7004), 1949-50, c1991. With Lennie Tristano, Warne Marsh, and Shelly Manne; includes “Subconscious Lee,” “Marshmallow,” and “Ice Cream Konitz.” Konitz Meets Mulligan. Pacific Jazz: 46847 (PJ 20142), 1953, c1988. Ideal Scene. Soul Note: 121119, 1986, c1986. Konitz on tenor saxophone. see MILES DAVIS - The Birth of the Cool see GERRY MULLIGAN - Complete Pacific Jazz and Capitol Recordings see STAN KENTON – New Concepts of Artistry in Rhythm see CLAUDE THORNHILL see LENNIE TRISTANO - Intuition and Complete Atlantic Recordings see ANTHOLOGIES - The Bebop Era and Smithsonian Collection of Classic Jazz JEFF LORBER, 1952- (Keyboards) + The Definitive Collection. Arista: 14639, c2000. With Kenny G on some selections. MACHITO [Frank R. Grillo], 1908-1984 (Bandleader/Singer/Maracas) Ritmo Caliente: Machito and His Afro-Cubans. Proper: BOX 48 (Decca/Clef), 4CD set, 1941-51, c2002. Includes Mario Bauzá’s “Tanga” as well as sidemen Brew Moore, Zoot Sims, Milt Jackson, Flip Phillips, Howard McGhee, and Charlie Parker. Carambola: Live at Birdland. Tumbao: TCD 024, 1951, c1992. See ANTHOLOGIES - The Original Mambo Kings BRANFORD MARSALIS, 1960- (Saxophone) + Buckshot Lefonque. Columbia: 57323, c1994.

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WYNTON MARSALIS, 1961- (Trumpet) + Wynton Marsalis. Columbia: 37574, c1982. + Think of One. Columbia: 38641, c1983. Black Codes (From the Underground). Columbia: 40009, 1985, c1985. J Mood. Wounded Bird: 4308 (Columbia 40308), 1985, c2007. + Blood on the Fields. Columbia: 57694, 3CD set, 1995, c1997. see ART BLAKEY - Album of the Year and Keystone 3 JOHN MCLAUGHLIN, 1942- (Guitar) My Goal's Beyond. Douglas: AD-03 (9), 1970, c2010. Includes “Follow Your Heart.” + Mahavishnu Orchestra: The Inner Mounting Flame. Columbia/Legacy: 65523 (31067), 1971, c1998. Mahavishnu Orchestra: Birds of Fire. Columbia/Legacy: 66081 (31996), 1972, c2000. Sbme Special Mkts. see MILES DAVIS - In a Silent Way, Bitches Brew, Jack Johnson, and Live-Evil see TONY WILLIAMS - Emergency! THE MODERN JAZZ QUARTET + MJQ40: The Boxed Set. Atlantic: 82330, 4CD set, 1952-88, c1991. Includes Prestige and Atlantic material. Django. Prestige/Concord: 8110 (P-7057), 1953-54, c2006. With Milt Jackson, John Lewis, Percy Heath, and Kenny Clarke: “Milano,” “Django,” “La Ronde,” “The Queen's Fancy,” and others. Concorde. Prestige: 30653 (P-7005), 1955, c2008. With Jackson, Lewis, Heath, and Connie Kay. European Concert. Collectables: 7836 (Atlantic: 603), 1960, c2007. Concert by Jackson, Lewis, Heath, and Kay: “Django” and “Bluesology.” see ANTHOLOGIES - Ken Burns JAZZ and Nica's Dream

THELONIOUS MONK, 1917-1982 (Piano) Ken Burns JAZZ Collection: Thelonious Monk. Sony/Legacy: 61449 (Blue Note/Prestige/Riverside/Columbia/Black Lion), 1947-71, c2000.

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+ The Complete Blue Note Recordings of Thelonious Monk. Blue Note: 30363, 4CD set, 1947-52, 1957, c1994. Genius of Modern Music. Vols. 1 & 2. Blue Note: 32138/32139 (1510/1511), 2CDs, 1947-52, c2001. With Milt Jackson, Art Blakey, Idris Sulieman, etc.: “Humph,” “In Walked Bud,” “Epistrophy,” “Misterioso,” “Well You Needn't,” “Off Minor,” “Straight No Chaser,” “Evidence,” “Criss Cross,” “’Round Midnight,” and others. Best of Thelonious Monk: The Blue Note Years. Blue Note: 95636, 1947-52, c1991. Includes many of the above selections. The Complete Prestige Recordings. Fantasy: 4428, 3CD set, 1944, 1952-54, c2000. Includes “Smoke Gets in Your Eyes”; also includes sessions led by Coleman Hawkins (1944) and Miles Davis (1954): “Bag’s Groove.” Thelonious Monk: The Complete Riverside Recordings. Riverside: 022, 15CD set, 1955-1961, c1986. Thelonious Himself. Riverside: 30510 (RLP 235), 1957, c2008. Solo piano: “Functional,” “I Should Care,” and “'Round Midnight.” Thelonious Monk Quartet with John Coltrane at Carnegie Hall. Blue Note: 35173, 1957, c2005. Thelonious in Action. Fantasy: OJC-103 (Riverside 262), 1958, c1988. With Johnny Griffin at the Five Spot Cafe; includes “Rhythm-‘n-ing.” Criss Cross. Columbia/Legacy: 63537 (CS8838/CL2038), 1963, c2003. Includes “Tea for Two.” Sbme Special Mkts. It’s Monk's Time. Columbia/Legacy: 63532 (CS 8984/CL 2184), 1964, c2003. With Charlie Rouse, Butch Warren, and Ben Riley: “Brake's Sake,” “Lulu's Back in Town,” and “Nice Work If You Can Get It.” see MILES DAVIS - Miles Davis and the Modern Jazz Giants and Bag's Groove see CHARLIE PARKER - Bird and Diz and Bird: Complete on Verve see ANTHOLOGIES - Bebop, Jazz Piano, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz WES MONTGOMERY, 1925-1968 (Guitar) Incredible Jazz Guitar. Riverside: 30790 (RLP 9320), 1960, c2008. With Tommy Flanagan, Percy Heath, and Al Heath: “West Coast Blues,” “Mister Walker,” “Four on Six,” and others. + Impressions: The Verve Jazz Sides. Verve: 521 690-2, 2CD set, 1964-66, c1995. Bumpin’. Verve: 314 539 062-2 (V6-8625), 1965, c1997.

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Smokin' at the Half Note. Verve: B0003934-02 (V6-8633), 1965, c2005. With Wynton Kelly, Paul Chambers, and Jimmy Cobb. A Day in the Life. A&M: 75021 0816 (3001), 1967, c1989. JELLY ROLL MORTON, 1890-1941 (Piano/Composer/Bandleader) Jelly Roll Morton. Milestone: 47018 (Gennett), 1923-26, c1992. Includes “Mamanita” and “The Pearls.” * The Pianist and Composer. Smithsonian: RD-043, 1923-26, c1991. Jelly Roll Morton: 1926-1930. JSP: 903, 5CD set (Victor), 1926-30, c[1991]. (import) * The Jelly Roll Morton Centennial: His Complete Victor Recordings. RCA Bluebird: 2361, 5CD set, 1926-30, 1939, c1990. + The Pearls. RCA Bluebird: 6588 (Victor), 1926-38, c1988. * Chicago: The Red Hot Peppers. Smithsonian: RD-044 (Victor), 1926-28, c1991. Birth of the Hot: The Classic Chicago “Red Hot Peppers” Sessions. RCA Bluebird: 66641, 1926-27, c1993. Sbme Special Mkts. With Kid Ory, George Mitchell, Johnny St. Cyr, and others: “Black Bottom Stomp,” “The Chant,” “Dead Man Blues,” and others; also “Wolverine Blues” with Johnny and Baby Dodds. + Jelly Roll Morton: The Complete Library of Congress Recordings by Alan Lomax. Rounder: 1888, 8CD set + book, 1938, c2005. Features Morton talking and playing. Kansas City Stomp. The Library of Congress Recordings, v. 1. Rounder: 1091, 1938, c1993. Anamule Dance. The Library of Congress Recordings, v. 2. Rounder: 1092, 1938, c1993. The Pearls. The Library of Congress Recordings, v. 3. Rounder: 1093, 1938, c1993. Winin' Boy Blues. The Library of Congress Recordings, v. 4. Rounder: 1094, 1938, c1993. The 4 single CDs feature mostly just the musical selections. see ANTHOLOGIES - Jazz Piano, Ken Burns JAZZ, Piano in Style, Riverside Collection of Classic Jazz, and The Smithsonian Collection of Classic Jazz

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GERRY MULLIGAN, 1927-1996 (Baritone Sax) * The Complete Pacific Jazz and Capitol Recordings of the Original Gerry Mulligan Quartet and Tentette with Chet Baker. Mosaic: MD3-102, 3CD set, 1952-53, c1989. With Chet Baker, Bob Whitlock, and Chico Hamilton (1952): “Walkin' Shoes,” “Soft Shoe,” and “Freeway”; live session with Lee Konitz, Baker, Carson Smith or Joe Mondragon, and Larry Bunker (1953): “I Can't Believe That You're in Love with Me,” “Broadway,” “All the Things You Are,” “Almost Like Being in Love,” and “Lover Man” (a transcription of the Konitz solo on this tune is available in John Mehegan, Jazz Improvisation, vol. 2); Mulligan Tentette with Baker, Pete Candoli, Bob Enevoldsen, John Graas, Ray Siegel, Bud Shank, Don Davidson, Mondragon, Hamilton, and Bunker (1953): “Walkin' Shoes,” “Rocker,” “Flash,” and others; Mulligan considers this session to represent some of his best work. * The Complete Pacific Jazz Recordings of the Gerry Mulligan Quartet with Chet Baker. Pacific Jazz: 38263, 4CD set, 1952-57, c1996. The Original Quartet with Chet Baker. Pacific Jazz: 94407, 2CD set, 1952-53, c1998. The Best of the Gerry Mulligan Quartet with Chet Baker. Pacific Jazz: 95481, 1952-53, c1991. Includes “Walkin' Shoes,” “Soft Shoe,” and “Freeway.” + At Storyville. Pacific Jazz: 94472 (1228), 1956, c1990. With Bob Brookmeyer. What Is There To Say? Columbia/Legacy: 52978 (CS 8116), 1959, c1994. Sbme. With Art Farmer, Bill Crow, and Dave Bailey: “What Is There to Say?,” “Just in Time,” “As Catch Can,” and others; Mulligan feels this recording to be some of his best work. * The Complete Verve Gerry Mulligan Concert Band Sessions. Mosaic: MD4-221 (Verve), 4CD set, 1960-62, c2003. Includes both of the following two albums: The Concert Jazz Band. Poll Winners: 27264 (Verve MGV-8388), 1960, c2011. Big band featuring Mulligan and Bob Brookmeyer: “Sweet and Slow,” “Out of This World,” Duke Ellington's “I'm Gonna Go Fishin,” and Mulligan's “Bweebida, Bobbida,” and others. Gerry Mulligan and The Concert Jazz Band at the Village Vanguard. Verve: 314 589 488-2 (V6-8396), 1960, c1989. The above band in concert featuring Clark Terry and Bob Brookmeyer: “Black Nightgown,” “Body and Soul,” “Come Rain or Come Shine,” and others. see MILES DAVIS - The Birth of the Cool see PAUL DESMOND - Two of a Mind see DUKE ELLINGTON - Newport 1958 see LEE KONITZ - Lee Konitz Meets Gerry Mulligan see ANTHOLOGIES - Big Band Renaissance, The Birth of the Cool. Vol. 2, and Ken Burns JAZZ

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OLIVER NELSON, 1932-1975 (Saxophone) Soul Battle. Prestige: OJC-325 (7223), 1960, c1992. With King Curtis. Blues and the Abstract Truth. Impulse!: 154 (A-5), 1961, c1995. With Freddie Hubbard, Eric Dolphy, Bill Evans, and Roy Haynes. DAVID “FATHEAD” NEWMAN, 1933-2009 (Saxophone) * House of David: The David “Fathead” Newman Anthology. Rhino: 71452 (Atlantic +), 2CD set, 1952-89, c1993. Fathead: Ray Charles Presents David Newman. Collectables: 6541 (Atlantic 1304), 1958, c2005. CLAUS OGERMANN, 1930- (Composer/Arranger) Cityscape. Warner Bros.: 23698, 1982, c1995. With Michael Brecker. KING OLIVER, 1885-1938 (Cornet) King Oliver, Off the Record: The Complete 1923 Band Recordings. Archeophone: OTR-MM6-C2 (Gennett/OKeh/Paramount), 2CD set, 1923, c2007. King Oliver’s Creole Jazzband: The Complete Set. Retrieval/Challenge: RTR 79007 (Gennett/OKeh/Paramount), 2CD set, 1923-24, c1996. (import) * King Oliver's Jazz Band. Smithsonian: 2001 (OKeh), 2LP set, 1923, c1975. With Louis Armstrong, Johnny Dodds, Honore Dutrey, Lil Hardin, etc.: “Snake Rag,” “Sweet Lovin' Man,” “High Society Rag,” “Dippermouth Blues,” “West End Blues,” etc. Louis Armstrong and King Oliver. Milestone: 47017 (Gennett/Paramount), 1923-1924, c1992. “Dippermouth Blues” and “I’m Going Away to Wear You Off My Mind” (1923) with Oliver, Armstrong, Johnny Dodds, Honore Dutrey, and Baby Dodds; “Cakewalking Babies from Home” (1924) with Armstrong, Sidney Bechet, Lil Hardin, and Charlie Irvis. see ANTHOLOGIES - Ken Burns JAZZ and Smithsonian Collection of Classic Jazz

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ORIGINAL DIXIELAND JAZZ BAND + The 75th Anniversary. RCA Bluebird: 61098 (Victor), 1917-1921, c1992. Usually considered the first recordings of jazz; sessions feature Nick LaRocca, Larry Shields, Eddie Edwards, Henry Ragas, and Tony Sbarbaro: “Dixie Jazz Band One-Step,” “Livery Stable Blues” (1917); “Tiger Rag,” “Clarinet Marmalade” (1918); “Margie” (1920), “Home Again Blues (1921), and others. see ANTHOLOGIES - An Experiment in Modern Music, Ken Burns JAZZ, and Ragtime EDDIE PALMIERI, 1936- (Piano/Bandleader) + La Perfecta. Fania: 773 130 255-2 (Alegre), 1966, c2007. The Sun of Latin Music. Music Productions: 6253 (Coco 109), 1973, c1990. Unfinished masterpiece. Music Productions: 6259 (Coco 120), 1975, c1991. Palmas. Elektra Nonesuch: 61649, 1993, c1994. + Vortex. TropiJazz/RMM: 82043, c1996. CHARLIE PARKER, 1920-1955 (Alto Sax) + Charlie Parker: A Studio Chronicle. JSP: 915 (Decca/Dial/Savoy), 5CD set, 1940-48, c2003. * Young Bird. Vols. 1 & 2. Masters of Jazz: 78, 1940-44. * The Complete Birth of the Bebop. Stash: ST-CD-535, 1940-46, c1991. Includes Parker's first known recording: “Honey & Body” (1940) and a 1942 session with Parker on alto plus a guitar; also a 1943 jam session with Dizzy Gillespie, Oscar Pettiford, and Parker on tenor sax, made in the hotel room of Billy Eckstine's valet, Robert Redcross: “Sweet Georgia Brown,” “Three Guesses,” “Boogie Woogie.” These performances are among the most valuable on record for documenting formative Parker, and, because they are on tenor, clarifying his Lester Young and Coleman Hawkins roots. * Early Bird. Stash: ST-CD-542 (Onyx 221/Spotlite 120), 1940-44, c1991. 1940 Wichita transcriptions with Bernard Anderson, Orville Minor, Bud Gould, Jay McShann, Gene Ramey, and Gus Johnson: “I Found a New Baby,” “Body and Soul,” “Moten Swing,” “Coquette,” “Lady Be Good,” “Wichita Blues,” and “Honeysuckle Rose”; “Cherokee” (1942) by Parker with an unidentified rhythm section; 1942 broadcast from the Savoy Ballroom with Jay McShann. Ken Burns JAZZ Collection: Charlie Parker. Verve: 549 084-2 (Decca/Guild/Savoy/Dial/Verve), 1941-54, c2000.

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* Yardbird Suite: The Ultimate Charlie Parker Collection. Rhino: 72260 (Savoy/Dial/Mercury/Clef), 2CD set, 1945-54, c1997. Dial, Savoy, Verve, and live recordings including “Groovin’ High,” “Salt Peanuts,” “Shaw Nuff,” “Hot House,” “Now’s the Time,” “Ko Ko,” “Moose the Mooche,” “Yardbird Suite,” “Ornithology,” “Cool Blues,” “Relaxin’ at Camarillo,” “Donna Lee,” “Dewey Square,” “Embraceable You,” “Klactoveesedstene,” “Parker’s Mood,” “Bloomdido,” “Star Eyes,” “Confirmation,” and others. The Complete Savoy and Dial Studio Sessions 1944-1948. Savoy Jazz: 92911, 8CD set, 1944-48, c2000. Savoy: with Tiny Grimes, Clyde Hart, etc. (1944): “Tiny's Tempo” and “Red Cross”; with Miles Davis, Dizzy Gillespie, Argonne Thornton, Curly Russell, and Max Roach (1945): “Billie's Bounce,” “Now's the Time,” and “Ko Ko”; with Davis, Bud Powell, Tommy Potter, and Roach (1947): “Donna Lee” and “Cheryl”; with Davis, John Lewis, Nelson Boyd, and Roach (1947): “Half Nelson” and “Sippin' at Bells”; with Davis, Duke Jordan, Potter, and Roach (1947): “Blue Bird” and “Bird Gets the Worm”; with Davis, Lewis, Russell, and Roach (1948): “Barbados,” “Parker's Mood,” and others. Dial: with Dizzy Gillespie, Lucky Thompson, etc. (1946): “Diggin' Diz”; with Miles Davis, Lucky Thompson, Dodo Marmarosa, etc. (1946): “Moose The Mooch,” “Yardbird Suite,” “Ornithology,” and “Night in Tunisia”; with Howard McGhee, etc. (1946): “Lover Man”; with Erroll Garner, etc. (1947): “This Is Always”, “Cool Blues”, and “Bird's Nest”; with McGhee, Wardell Gray, Marmarosa, etc. (1947): “Relaxin' at Camarillo” and “Cheers”; with Davis, Duke Jordan, Tommy Potter, and Max Roach (1947): “Dexterity,” “Bird of Paradise,” “Embraceable You,” “Dewey Square,” “Klactoveesedstene,” “Crazeology,” and others. Also includes 1945 Guild recordings with Dizzy Gillespie: “Groovin’ High,” “All the Things You Are,” “Salt Peanuts,” “Shaw ‘Nuff,” and “Hot House.” The Complete Savoy & Dial Master Takes. Savoy Jazz: 17149, 3CD set, 1944-48, c2002. Best of the Complete Savoy & Dial Studio Recordings. Savoy Jazz: 17120, 1944-48, c2002. Includes “Tiny’s Tempo,” “Koko,” “Moose the Mooche,” “Yardbird Suite,” “Ornithology,” “Night in Tunisia,” “Cool Blues,” “Relaxin’ at Camarillo,” “Cheryl,” “Embraceable You,” “Crazeology,” “Blue Bird,” “Parker’s Mood,” and others. Charlie Parker & Dizzy Gillespie: Diz ‘n Bird at Carnegie Hall. Blue Note: 57061, 1947, c1997. The Complete Live Performances on Savoy. Savoy Jazz: 17021/24, 4CD set, 1947-50, c1998. The above two include a 1947 live version of “Groovin’ High”. Bird/The Complete Charlie Parker On Verve. Verve: 837 141-2 (Mercury/Clef), 10CD set, 1946-54, c1988. The Complete Verve Master Takes. Verve: 440 065 597-2, 3CD set, 1947-53, c2003.

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Confirmation: Best of the Verve Years. Verve: 314 527 815-2, 2CD set, 1946-53, c1995. Includes “April in Paris” and “Just Friends” with strings; “Star Eyes” with Hank Jones; and “Bloomdido” with Gillespie, Monk, and Buddy Rich. + Charlie Parker: Jazz at the Philharmonic 1949. Verve: 314 519 803-2, 1949, c1993. Includes Ella Fitzgerald performances of “How High the Moon,” “Perdido,” and “Flying Home.” + Swedish Schnapps. Verve: 849 393-2 (MGV 8010), 1949-51, c1991. Charlie Parker with Strings: The Master Takes. Verve: 314 523 984-2, 1949-52, c1995. Includes “April in Paris,” “Just Friends,” “Summertime,” and others. Bird and Diz. Verve: 314 521 436-2 (MGV 8006), 1950, c1997. With Dizzy Gillespie, Thelonious Monk, and Buddy Rich; includes “Bloomdido” and “Relaxin' with Lee.” * Now's the Time. Verve: 825 671-2 (MGV 8005), 1952-53, c1985. With Al Haig and Max Roach; includes “Now’s the Time” and “Confirmation.” Jazz at Massey Hall. Fantasy: OJC-044 (Debut 124), 1953, c1989. Concert with Dizzy Gillespie, Bud Powell, Charles Mingus, and Max Roach. see DIZZY GILLESPIE - Groovin’ High and Town Hall 1945 see ANTHOLOGIES - Bebop, Ken Burns JAZZ, and Smithsonian Collection of Classic Jazz MACEO PARKER, 1943- (Saxophone) + Roots Revisited. Verve: 843 751-2, c1990. WILLIAM PARKER, 1952- (Bass) In Order to Survive. Black Saint: 120 159-2, 1993, c1995. BUD POWELL, 1924-1966 (Piano) * The Complete Blue Note and Roost Recordings. Blue Note: 30083, 4CD set, 1947-63, c1994. * The Bud Powell Trio Plays. Roulette: 93902 (Roost 2224), 1947, c1990. “Nice Work If You Can Get It” and “Somebody Loves Me” with Curly Russell and Max Roach.

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The Amazing Bud Powell. Vols. 1 & 2. Blue Note: 32136/32137 (1503/1504), 2CDs, 1949-53, c2001. With Max Roach, Sonny Rollins, Fats Navarro, Tommy Potter, and Roy Haynes: “Un Poco Loco,” “Bouncing with Bud,” “Night in Tunisia,” “Dance of the Infidels,” “Parisian Thoroughfare,” and “Polka Dots and Moonbeams.” + The Complete Bud Powell on Verve. Verve: 314 521 669-2, 5CD set, 1949-56, c1994. + Jazz Giant. Verve: 314 543 832-2 (MGV 8153), 1949-50, c2001. With Ray Brown, Curly Russell, Max Roach: “Get Happy,” “Tempus Fugit,”and “Celia.” + The Genius of Bud Powell. Verve: 827 901-2 (V 8115), 1950-51, c1988. “Hallucinations,” “Tea for Two,” and others. see DEXTER GORDON - Settin’ the Pace see CHARLIE PARKER - Savoy recordings and Jazz at Massey Hall see ANTHOLOGIES - Bebop, The Bebop Revolution, Jazz Piano, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz TITO PUENTE, 1923-2000 (Timbales/Vibraphone/Bandleader) The Essential Tito Puente. RCA/Legacy: 69243, 2CD set, 1949-62, c2005. Mambo Diablo. Concord Picante: 4283, 1985, c1985. Royal T. Concord Picante: 4553, 1993, c1993. Special Delivery. Concord Picante: 4732, 1996, c1996. SONNY ROLLINS, 1929- (Tenor Sax) Ken Burns JAZZ Collection: Sonny Rollins. Verve: 549 091-2, 1954-66, c2000. Sonny Rollins: The Complete Prestige Recordings. Prestige: 4407, 7CD set, 1949-56, c1992. Sonny Rollins Plus 4. Prestige: 30159 (P-7038), 1956, c2007. With Clifford Brown, Richie Powell, George Morrow, and Max Roach: “Pent-Up House,” “Kiss and Run,” and “Valse Hot”; Rollins has said that this is some of his best playing on record. Saxophone Colossus. Prestige/Concord: 8105 (P-7079), 1956, c2006. With Tommy Flanagan and Max Roach: “Blue Seven,” “St. Thomas,” “You Don’t Know What Love Is,” and others. Way Out West. Contemporary: 31993 (C-7530), 1957, c2010. With Ray Brown and Shelly Manne.

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A Night at the Village Vanguard. Vols. 1 & 2. Blue Note: 99795 (1581), 2CD set, 1957, c1999. With Wilbur Ware and Elvin Jones: “A Night in Tunisia,” “I'll Remember April,” and others; the set includes all the material on Blue Note 1581 and More from the Vanguard (Blue Note 475). + The Complete RCA Victor Recordings. Victor Jazz: 68675, 6CD set, 1962-65, c1997. Includes The Bridge and Our Man in Jazz. + The Bridge. RCA: 52472, (LSP-2527), 1962, c2003. With Jim Hall. (import available) + Our Man in Jazz. RCA Victor: 74321851602 (LSP-2612), 1962, c2003. Our Man in Jazz. RCA/Japan: BVCJ-37211 (LSP-2612), 1962, c2005. (import) Live with Don Cherry, Henry Grimes, and Ed Blackwell. see CLIFFORD BROWN - At Basin Street see MILES DAVIS - Dig, Collector's Items, and Bag's Groove see DIZZY GILLESPIE - Duets and Sonny Side Up see BUD POWELL - Amazing Bud Powell see ANTHOLOGIES - Ken Burns JAZZ, Nica's Dream, and The Smithsonian Collection of Classic Jazz ROYAL CROWN REVUE (Swing revival group) Mugsy’s Move. Warner Bros.: 46125, c1996. DAVID SANBORN, 1945- (Alto Sax) Straight to the Heart. Warner Bros.: 25150, c1984. Upfront. Elektra: 61272, 1991, c1992. see BOB JAMES - Double Vision ARTURO SANDOVAL, 1949- (Trumpet) Tumbaito. Messidor: 15974, 1986, c1992. Jam Miami: A Celebration of Latin Jazz. Concord Picante: 4899, 2000, c2000. With Chick Corea, Claudio Roditi, Poncho Sanchez, and others. see IRAKERE - Best of… SCHNEIDER, MARIA, 1960- (Bandleader) Evanescence. ArtistShare: 0006 (ENJA 8048), 1992, c2005. Coming About. ArtistShare: 0087 (ENJA 9069), 1995, c2008. Allégresse. ArtistShare: 0005 (ENJA 9393), 2000, c2005.

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Days of Wine and Roses: Live at the Jazz Standard. ArtistShare: 0017, 2000, c2005. Concert in the Garden. ArtistShare: 0001, 2001-04, c2004. BRIAN SETZER, 1959- (Swing revival guitarist-bandleader) The Dirty Boogie. Interscope: 90183, c1998. WAYNE SHORTER, 1933- (Soprano Sax/Tenor Sax) Night Dreamer. Blue Note: 64467 (84173), 1964, c2005. With Lee Morgan, McCoy Tyner, Reggie Workman, and Elvin Jones; all tunes composed by Shorter: “Night Dreamer,” “Oriental Folk Song,” “Virgo,” “Black Nile,” “Charcoal Blues,” “Armageddon,” and “House of Jade.” Speak No Evil. Blue Note: 99001 (84194), 1964, c1999. With Freddie Hubbard, Herbie Hancock, Ron Carter, and Elvin Jones; all tunes composed by Shorter: “Witch Hunt,” “Fee Fi Fo Fum,” “Dance Cadaverous,” “Speak No Evil,” “Infant Eyes,” and “Wild Flower.” Super Nova. Blue Note: 84332, 1969, c1988. With John McLaughlin, Chick Corea, Jack DeJohnette, and others. Native Dancer. Columbia/Legacy: 46159, 1975, c1990. With Milton Nascimento.

Sbme Special Mkts.

Beyond the Sound Barrier. Verve: B0004518-02, 2002-04, c2005. With Danilo Perez, John Patitucci, and Brian Blade. see ART BLAKEY - Mosaic, Three Blind Mice, Caravan, Ugetsu, and Indestructible see MILES DAVIS - Miles in Berlin, Miles Davis Quintet 1965-1968: The Complete Columbia Studio Recordings, E.S.P., Plugged Nickel, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, Filles de Kilimanjaro, In a Silent Way, and Bitches Brew see WEATHER REPORT see JOE ZAWINUL - Zawinul HORACE SILVER, 1928- (Piano) Horace Silver and The Jazz Messengers. Blue Note: 64478 (81518), 1954, c2005. With Kenny Dorham, Hank Mobley, and Art Blakey: “Doodlin',” “The Preacher,” “Stop Time,” and others. Six Pieces of Silver. Blue Note: 25648 (81539), 1956, c2000. Includes “Senor Blues.” Further Explorations. Blue Note: 14379 (1589), 1958, c2008. With Art Farmer, Clifford Jordan, and Louis Hayes; includes “Moon Rays.”

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Finger Poppin'. Blue Note: 42304 (84008), 1959, c2003. With Blue Mitchell, Junior Cook, Gene Taylor, and Louis Hayes: “Finger Poppin',” “Cookin' at the Continental,” “Mellow D,” and others. Blowin' the Blues Away. Blue Note: 95342 (84017), 1959, c1999. With Mitchell and Cook: “Sister Sadie,” “Peace,” and others. Horace-Scope. Blue Note: 37775 (84042), 1960, c2006. With Blue Mitchell and Junior Cook. Song for My Father. Blue Note: 99002 (84185), 1964, c1999. With Carmell Jones, Joe Henderson: “Song for My Father,” “The Kicker,” etc. Cape Verdean Blues. Blue Note: 90839 (84220), 1965, c2004. With Joe Henderson, Woody Shaw and J. J. Johnson. + In Pursuit of the 27th Man. Blue Note: 35758 (BN-LA054-F), 1972, c2002. With Randy Brecker, Michael Brecker, David Friedman, Bob Cranshaw, and Mickey Roker: “Liberated Brothers,” “Kathy,” “Gregory Is Here,” “Summer in Central Park,” “Nothin' Can Stop Me Now,” “In Pursuit of the 27th Man,” and “Strange Vibes”; included because it contains the best recorded solos of the Brecker Brothers; it also displays delightful Silver writing, and, on some tunes, an unusual format for Silver: vibraphone, piano, bass and drums. see ART BLAKEY - A Night at Birdland and Jazz Messenger see MILES DAVIS - Walkin' and Bag's Groove see ANTHOLOGIES - Bebop, Jazz Piano, Ken Burns JAZZ, Nica's Dream, and Smithsonian Collection of Classic Jazz (revised) BESSIE SMITH, 1894-1937 (Blues Singer) Bessie Smith: Queen of the Blues, Vol. 1. JSP: 929 (Columbia), 4CD set, 1923-26, c2006. Bessie Smith: Empress of the Blues, Vol. 2. JSP: 930 (Columbia), 4CD set, 1926-33, c2007. The Essential Bessie Smith. Columbia/Legacy: C2K 64922, 2CD set. 1923-33, c1997. Bessie Smith: The Complete Recordings. Vol. 3. Frog: DGF42 (Columbia), 1924-25, c2001. (import) + The Complete Recordings. Vol. 2. Columbia/Legacy: C2K 47471, 2CD set, 1924-25, c1991. Includes selections with accompaniment by Louis Armstrong: “Sobbin’ Hearted Blues” and “St. Louis Blues” (1925). Bessie Smith: The Complete Recordings. Vol. 5. Frog: DGF44 (Columbia), 1926-27, c2001. (import) + The Complete Recordings. Vol. 3. Columbia/Legacy: C2K 47474, 2CD set, 1925-28, c1992. Includes “Lost Your Head Blues” (1926) with Joe Smith. Note: The releases on Frog have superior sound quality.

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CHRIS SPEED, 1967- (Tenor Sax, Clarinet) Deviantics. Songlines: 1524, 1998, c1999. ART TATUM, 1909-1956 (Piano) Piano Starts Here. Columbia/Legacy: 64690 (CL2565), 1933, 1949, c1995. Sbme. Includes “Tea for Two,” “Humoresque,” “Tiger Rag,” “St. Louis Blues,” “Willow Weep for Me,” “The Man I Love,” “Yesterdays,” and others. + Classic Early Solos. Decca Jazz/GRP: 607, 1934-37, c1991. (import available) + I Got Rhythm. Vol. 3. Decca Jazz/GRP: 630 (Brunswick), 1935-44, c1993. With Tiny Grimes and Slam Stewart; includes amazing 1944 versions of “I Got Rhythm” and “Tea for Two,” plus “Deep Purple,” “Cocktails for Two,” and others. * Pieces of Eight. Smithsonian: 2029, LP, 1939-55, c1981. * Art Tatum: Solos (1940). Decca Jazz/MCA: 42327, 1940, c1990. The Complete Capitol Recordings of Art Tatum. Capitol Jazz: 21325, 2CD set, 1949-52, c1997. Vol. 1 includes “Willow Weep for Me” and “Aunt Hagar's Blues.” Art Tatum: 20th Century Piano Genius. Verve: 314 531 763-2, 2CD set, 1950, 1955, c1996. Include “Too Marvelous for Words.” Tatum Group Masterpieces. Vol. 8. Pablo: 2405-431 (Verve MGV 8220), 1956, c1990. Ballads by Ben Webster, Tatum, Red Callender, and Bill Douglass: “All the Things You Are,” “Where or When,” “My One and Only Love,” and others. see ANTHOLOGIES - Jazz Piano, Ken Burns JAZZ, and The Smithsonian Collection Of Classic Jazz CECIL TAYLOR, 1933- (Piano) Jazz Advance. Blue Note: 84462 (Transition), 1955, c1991. With Steve Lacy, Buell Neidlinger, and Dennis Charles: “Bemsha Swing,” “Charge 'Em Blues,” “Azure,” “Song,” “You'd Be So Nice to Come Home To,” “Rick Kick Shaw,” and “Sweet and Lovely.” + Gigi Gryce-Donald Byrd Jazz Laboratory/Cecil Taylor Quartet: At Newport. Verve: 314 589 764-2 (MGV 8238), 1957, c2003. Taylor quartet with Steve Lacy, Buell Neidlinger, and Dennis Charles: “Johnny Come Lately,” “Nona’s Blues,” and “Tune.”

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+ Love for Sale. Blue Note: 94107 (UA 4046), 1959, c1998. Session with Ted Curson, Bill Barron, Chris White, and Rudy Collins: “Get Out of Town,” “Carol/Three Points,” “Love for Sale,” “Little Lees,” and “I Love Paris.” Looking Ahead! Fantasy: OJC-452 (Contemporary 7562), 1958, c1990. Quartet session with vibes. * The Complete Cecil Taylor/Buell Neidlinger Candid Sessions. Mosaic: MD4-127, 4CD set, 1960-61, c1989. The World of Cecil Taylor. Candid: 79006 (8006), 1960, c1992. With Archie Shepp, Buell Neidlinger, and Dennis Charles: “Air,” “This Nearly Was Mine,” “Port of Call,” “Eb,” and “Lazy Afternoon.” * Nefertiti, the Beautiful One Has Come. Revenant: 202 (Debut), 2CD set, 1962, c1997. With Jimmy Lyons and Sunny Murray; includes “Trance.” Unit Structures. Blue Note: 84237, 1966, c1987. With Eddie Gale Stevens, Jr., Jimmy Lyons, Ken McIntyre, Henry Grimes, Alan Silva, and Andrew Cyrille. Conquistador. Blue Note: 90840 (84260), 1966, c2004. With Bill Dixon, Jimmy Lyons, and Andrew Cyrille; includes “Enter Evening.” + Silent Tongues. 1201 Music: 9017 (Arista/Freedom 1005), 1974, c2000. Unaccompanied piano improvisations recorded live at the Montreux Jazz Festival: “Abyss,” “Petals and Filaments,” and “Jitney #2.” * Fly, Fly, Fly. Pausa: 7108 (MPS), LP, 1980, c1981. Solo piano. see ANTHOLOGIES - Ken Burns JAZZ , Smithsonian Collection of Classic Jazz CLAUDE THORNHILL, 1909-1965 (Piano/Big Band) Claude Thornhill and His Orchestra Play the Great Jazz Arrangements of Gil Evans, Gerry Mulligan, and Ralph Aldrich. Fresh Sounds: 365 (Columbia), 1942-53, c2004. * The Memorable Claude Thornhill. Columbia: 32906, 2LP set, 1941-47, c1975. Featuring Lee Konitz: “Snowfall,” “Hungarian Dance #5,” “Traumerai,” “Portrait of a Guinea Farm,” “Where or When,” “Night and Day,” “Grieg's Piano Concerto,” “I Don't Know Why,” “Moonlight Bay,” “Buster's Last Stand,” “Moments Like This,” “A Sunday Kind of Love,” “Warsaw Concerto,” “Robbin's Nest,” “Lover Man,” “For Heaven's Sake”; and the following Gil Evans arrangements: “There's a Small Hotel,” “Anthropology,” “Yardbird Suite,” and “Donna Lee.” * Best of the Big Bands: Claude Thornhill. Columbia: 46152, 1941-47, c1990. see ANTHOLOGIES - The Bebop Era, Big Band Jazz, and Jazz in Revolution

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LENNIE TRISTANO, 1919-1978 (Piano) Intuition. Capitol Jazz: 52771 (11060), 1949, 1956, c1996. With Tristano, Lee Konitz, Warne Marsh, Billy Bauer, and others (1949): “Wow,” “Crosscurrent,” “Yesterdays,” “Marionette,” “Sax of a Kind,” “Intuition,” and “Digression”; balance of CD is a 1956 Warne Marsh session. Abstraction & Improvisation. Five/Four: 18, 1946-55, Includes “Descent into the Maelstrom” (1953).

c2007. (import)

* The Complete Atlantic Recordings of Lennie Tristano, Lee Konitz & Warne Marsh. Mosaic: MD6-174, 6CD set, 1955-61, c1997. + Lennie Tristano/The New Tristano. Rhino: 71595 (Atlantic 1224/1357), 1955, 1961, c1994. Includes “Line Up” and “Turkish Mambo.” see LEE KONITZ - Subconscious Lee see ANTHOLOGIES - The Bebop Era, Jazz Piano, Mirage, and The Smithsonian Collection of Classic Jazz MCCOY TYNER, 1938- (Piano) see JOHN COLTRANE - most Atlantic and Impulse! recordings see WAYNE SHORTER - Night Dreamer see ANTHOLOGIES - Jazz Piano US3 (Acid Jazz Group) Hand on the Torch. Blue Note: 80883, c1993. SARAH VAUGHAN, 1924-1990 (Singer) Ken Burns JAZZ Collection: Sarah Vaughan. Verve: 549 088-2, 1944-74, c2000. Young Sassy. Proper: PROPER BOX 27 (Continental/Musicraft/Columbia/MGM), 4CD set, 1944-50, c2001. (import) + Tenderly. Musicraft: 70057, 1946-48, c1988. Includes “You’re Not the Kind” with Freddie Webster on trumpet. Sarah Vaughan [with Clifford Brown]. Emarcy: 543 305-2 (MG 36004), 1954, c2000. Includes “You’re Not the Kind.” + Sarah Vaughan with Michel Legrand. Mainstream: 703 (361), 1972, c1990. Includes “What Are You Doing the Rest of Your Life” and “The Summer Knows.” * Live in Japan. Mainstream/Legacy: J2K 57123 (2401), 2CD set, 1973, c1991. Includes “My Funny Valentine.”

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JUNIOR WALKER, 1931-1995 (Tenor Sax) Shotgun. Motown: 314 530 245 (Soul 701), 1965, c2001. The Ultimate Collection. Motown: 314 530 828 (Soul), 1962-96, c1997. FATS WALLER, 1904-1943 (Piano) * The Fats Waller Piano Solos: Turn on the Heat. RCA Bluebird: 2482 (Victor), 2CD set, 1927-41, c1991. “Numb Fumblin’,” “Valentine Stomp,” and “Ain’t Misbehavin” (1929), “I Ain’t Got Nobody” (1937), and “Honesuckle Rose” (1941). see ANTHOLOGIES - Jazz Piano and Smithsonian Collection of Classic Jazz GROVER WASHINGTON, JR., 1943-2000 (Saxophone) Mister Magic. Motown: 530 103 (Kudu 20), 1974, c1995. Winelight. Elektra: 305, 1980, c1980. WEATHER REPORT (Fusion Group) Forecast: Tomorrow. Columbia/Legacy: 85570, 3CD set + 1 DVD, 1969-85, c2006. Includes tracks by Miles Davis, Wayne Shorter, and Cannonball Adderley. Weather Report. Columbia: 48824 (30661), 1971, c1992. Sbme Special Mkts. Includes “Seventh Arrow,” “Umbrellas,” “Waterfall,” and “Eurydice.” I Sing the Body Electric. Columbia: 46107 (31352), 1971-72, c1990. Includes edited live performance by Joe Zawinul, Wayne Shorter, Miroslav Vitous, Eric Gravatt, and Dom Um Romao: “Vertical Invader,” “T.H.,” “Dr. Honoris Causa,” “Surucucu,” and “Directions”; also includes studio date with added singers, English horn (Andrew White), flute, trumpet, and 12-string guitar: “Unknown Soldier,” “The Moors,” “Crystal,” and “Second Sunday in August.” Live in Tokyo. CBS: 489208 2, 2CD set, 1972, c1997.

(import)

Sweetnighter. Columbia/Legacy: 64976 (32210), 1973, c1996. Sbme Special Mkts. th Includes “Boogie Woogie Waltz,” “125 St. Congress,” “Manolete,” and “Non-Stop Home.” Mysterious Traveller. Columbia/Legacy: 65112 (32494), 1974, c2002. Includes “Jungle Book” and “Blackthorn Rose.” Tale Spinnin'. Columbia/Legacy: 65110 (33417), 1975, c2002. Includes “Badia,” “Man in the Green Shirt,” and “Five Short Stories.” Black Market. Columbia/Legacy: 65169 (34099), 1976, c2002. Includes “Three Clowns” and “Barbary Coast.”

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Heavy Weather. Columbia/Legacy: 65108 (34418), 1977, c1997. Includes “Birdland,” “Teen Town,” “The Juggler,” “Palladium,” “Harlequin,” and “Havona.” Mr. Gone. Columbia/Legacy: 46869 (35358), 1978, c1991. Includes “River People” and “Punk Jazz.”

Sbme Special Mkts.

8:30. Columbia/Legacy: 57665 (PC2 36030), 1979, c1994. Includes “The Orphan.”

Sbme Special Mkts.

Night Passage. Columbia: 36793, c1980. Sbme Special Mkts. Includes “Port of Entry,” “Dream Clock,” and “Three Views of a Secret.” Weather Report. Columbia: 37616, 1981, c1987. Sbme Special Mkts. Includes “Crazy About Jazz” and “Dara Factor One.” MARY LOU WILLIAMS, 1910-1981 (Piano/Arranger) * Mary Lou Williams 1927-1940. Classics: 630 (Brunswick/Decca/Varsity), 1927-40, c1992. * Mary Lou Williams 1944. Classics: 814 (Asch/V-Disc), 1944, c1995. * Mary Lou Williams 1944-1945. Classics: 1021 (Asch), 1944-45, c1998. Includes “The Zodiac Suite.” The Asch Recordings. Folkways: 2966 (Asch), 2CD set, 1944-47. + Nite Life. Chiaruscuro: 103, 2CD set, 1971, c1998. see ANDY KIRK TONY WILLIAMS, 1945-1997 (Drums) Emergency! Verve: 314 539 117-2 (Polydor 25-3001), 1969, c1997. + Spectrum: The Anthology. Verve: 537 075-2 (VE2-2541), 2CD set, 1969-73, c1997. With John McLaughlin and Larry Young. see MILES DAVIS - Seven Steps to Heaven, In Europe, My Funny Valentine, Four and More, Miles in Berlin, Miles Davis Quintet 1965-1968: The Complete Columbia Studio Recordings, E.S.P., Plugged Nickel, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, Filles de Kilimanjaro, and In a Silent Way see HERBIE HANCOCK - Empyrean Isles and Maiden Voyage

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LESTER YOUNG, 1909-1959 (Tenor Sax) + Ken Burns JAZZ Collection: Lester Young. Verve: 549 082-2 (Columbia/Decca/Keynote/Aladdin/Verve), 1936-57, c2000. + The “Kansas City” Sessions. Commodore/GRP: 402, 1938, 1944, c1997. Selections feature Young (on clarinet and tenor saxophone), Buck Clayton, Eddie Durham, Freddie Green, Walter Page, and Jo Jones: “Way Down Yonder in New Orleans,” “I Want a Little Girl,” “Countless Blues,” and “Pagin' the Devil” (1938); plus “Good Mornin’ Blues” without Young. + The Complete Aladdin Sessions. Blue Note: 32787, 2CD set, 1942-48, c1995. Includes “D.B. Blues” (1945). see COUNT BASIE - Complete Decca Recordings, Best of Early Basie, and America’s #1 Band see BILLIE HOLIDAY - Lady Day and A Musical Romance see ANTHOLOGIES - Classic Tenors, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz JOE ZAWINUL, 1932-2007 (Keyboards) Zawinul. Mosaic Contemporary: 5006 (Atlantic 1579), 1970, c2007. (mail order) With Wayne Shorter, Earl Turbinton, Woody Shaw, George Davis, Hubert Laws, Herbie Hancock, Miroslav Vitous, Walter Booker, Jack DeJohnette, Joe Chambers, Billy Hart, and David Lee: “Doctor Honoris Causa,” “In a Silent Way,” “Double Image,” and “Arrival in New York”; this recording displays some of Zawinul's best composing and arranging. see CANNONBALL ADDERLEY - Cannonball in Europe and Mercy, Mercy, Mercy see MILES DAVIS - In a Silent Way and Bitches Brew see WEATHER REPORT See ANTHOLOGIES - Ken Burns JAZZ JOHN ZORN, 1953- (Alto Sax) Masada Live in Jerusalem 1994. Tzadik: 7322, 1994, c1999. Masada Live in Middelheim 1999. Tzadik: 7326, 1999, c1999. Both with Dave Douglas.

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ANTHOLOGIES (Alphabetically By Title) * African Journey: A Search for the Roots of the Blues. Sonet: SNTF 667 (Vanguard 73014/15), 1974. (import) Recorded by Samuel Charters in Gambia, Senegal, Mali, Ghana, and Togo. An Anthology of Big Band Swing. Decca Jazz/GRP: GRD2-629, 2CD set, 1930-55, c1993. Includes Duke Ellington, Fletcher Henderson, Jimmie Lunceford, Count Basie, Benny Carter, Jay McShann, Roy Eldridge, and others. * Bebop. New World: 271, LP, 1945-56, c1976. “Parker's Mood,” “Relaxin' at Camarillo,” “Ko-Ko,” and “Embraceable You” by Charlie Parker; “Things to Come” by Dizzy Gillespie's big band; “Un Poco Loco” by Bud Powell; “Jahbero” by Tadd Dameron with Fats Navarro; “Misterioso” by Thelonious Monk; “What is This Thing Called Love” by Clifford Brown and Max Roach; “Stop Time” by Horace Silver; “You’re Not the Kind” by Sarah Vaughan, and others. * The Bebop Era. Columbia: 40972, 1942-51, c1987. Gil Evans' arrangements for Claude Thornhill of “Yardbird Suite” and “Donna Lee” (1947); and “No Figs” by the Metronome All Stars with Stan Getz and Lennie Tristano (1950). * The Bebop Revolution. RCA Bluebird: 2177, 1946-49, c1990. Dizzy Gillespie combo (1946) and big band (1947-49); and Kenny Clarke and His 52nd Street Boys with Fats Navarro, Sonny Stitt, and Bud Powell (1946). Bernstein Century: Bernstein on Jazz [What Is Jazz?]. Sony: SMK 60566 (Columbia CL 919), 1956, c1998. This presentation remains the single most effective tool for explaining the principles and concepts underlying jazz, as well as for comparing different styles of jazz. With his typical clarity, humor, and eclecticism, Leonard Bernstein provides definitions and musical examples for mutes, vibraphone, cymbals, cow bell, maracas, bongo drums, jazz shading of tone, syncopation, blue notes, vibrato, improvisation, instrumental break, collective improvisation, 12-bar blues form, AA-B-A form, theme and variations, etc. He is assisted by an all-star set of jazz musicians including Louis Armstrong, Bessie Smith, Miles Davis, Buck Clayton, Buster Bailey, John Coltrane, Teo Macero, Turk Murphy, and Coleman Hawkins. He also compares jazz styles by offering different renditions of “Sweet Sue.” The Best of Ken Burns JAZZ. Sony/Legacy: 61439, 1926-92, c2000. Includes Jelly Roll Morton, Sidney Bechet, Louis Armstrong, Bix Beiderbecke, Duke Ellington, Fletcher Henderson, Benny Goodman, Artie Shaw, Count Basie, Billie Holiday, Dizzy Gillespie, Thelonious Monk, Sarah Vaughan, Dave Brubeck, Horace Silver, John Coltrane, and Miles Davis.

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* Big Band Jazz: From the Beginnings to the Fifties. Smithsonian: RJ0001 (2202), 4CD set, 1924-56, c1983. FLETCHER HENDERSON – “Copenhagen,” “Henderson Stomp,” “Hop Off,” “New King Porter Stomp,” and “Down South Camp Meetin'.” JIMMIE LUNCEFORD – “Mood Indigo,” “Stratosphere,” “Stomp It Off,” “Organ Grinder's Swing,” and “Uptown Blues.” BENNY GOODMAN – “Sometimes I'm Happy,” “King Porter Stomp,” “Sing, Sing, Sing,” “Ridin' High,” and “Mission to Moscow.” TOMMY DORSEY – “Song of India,” “Well Git It,” “On the Sunny Side of the Street,” and “Opus Number One.” COUNT BASIE – “One O'Clock Jump,” “Sent for You Yesterday,” “Jumpin' at the Woodside,” “Volcano,” “9:20 Special,” and “Shiny Stockings.” ARTIE SHAW – “Begin the Beguine,” “Rose Room,” and “Star Dust.” BENNY CARTER – “Shufflebug Shuffle.” DUKE ELLINGTON – “A Gypsy Without a Song,” “Take the 'A' Train,” “Just A-Settin' and A-Rockin',” “Perdido,” “C-Jam Blues,” “Main Stem,” and “Happy-Go-Lucky Local.” LIONEL HAMPTON – “Till Tom Special” and “Flying Home.” WOODY HERMAN – “Down Under,” “Apple Honey,” and “Four Brothers.” BILLY ECKSTINE – “Cool Breeze.” DIZZY GILLESPIE – “Our Delight” and “Things to Come.” CLAUDE THORNHILL – “Robbins Nest” and “Donna Lee.” * Big Band Renaissance: The Evolution of the Jazz Orchestra. Smithsonian: RJ0014 (RD108), 5CD set, 1941-89, c1995. Includes Jay McShann, Boyd Raeburn, Duke Ellington, Benny Goodman, Charlie Barnet, Artie Shaw, Count Basie, Woody Herman, Stan Kenton, Sauter-Finegan, Ted Heath, Harry James, Maynard Ferguson, Buddy Rich, Herb Pomeroy, Johnny Richards, Dizzy Gillespie, Terry Gibbs, Gerry Mulligan, Quincy Jones, Gerald Wilson, Thad Jones, Mel Lewis, Duke Pearson, Clare Fischer, John Dankworth, Kenny Clarke, Francy Boland, Don Ellis, Toshiko Akiyoshi, Rob McConnell, Gil Evans, George Russell, Benny Carter, Manny Albam, Henry Mancini, Oliver Nelson, Muhal Richard Abrams, Sun Ra, Charlie Haden, and others. * The Birth of the Cool. Vol. 2. Capitol: 98935, 1951-53, c1992. Gerry Mulligan Tentette (1953): “Walking Shoes,” “Rocker,” and “Flash”; Mulligan considers this session to represent some of his best work; Shorty Rogers and His Giants (1951); and the Metronome All Stars (1951) with Miles Davis, Lee Konitz, Stan Getz, and others. * The Birth of the Third Stream. Columbia/Legacy: 64929 (WL 127/CL 941), 1956-57, c1996. “Revelations” by Charles Mingus; “All about Rosie” by George Russell featuring Bill Evans; “Three Little Feelings” by John Lewis; and “Poem for Brass” by J. J. Johnson. * Black California. Savoy: SVY-0274 (2215), 1945-52, c1995. With Sonny Criss, Wardell Gray, Roy Porter, Harold Land, and Hampton Hawes. * The Blues: A Smithsonian Collection of Classic Blues Singers. Smithsonian: 2550 (RD 101), 4CD set, 1923-85, c1993.

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Breaking Out of New Orleans. JSP: 921, 4CD set, 1922-29, c2004. (import) Original Tuxedo Jass Band, Sam Morgan, Piron’s New Orleans Orchestra, Red Onion Jazz Babies, Ory’s Sunshine Orchestra, Fate Marable, Erskine Tate, Doc Cook, Freddie Keppard, Johnny Dodds, and others. * The Changing Face of Harlem. Savoy: 2208, 2LP set, 1944-45, c1976. Included for Earl Bostic solos which show possible origins of certain Coltrane devices. * The Chicagoans: The Austin High Gang. MCA: 1350 (Decca 9231), LP, 1928-30, c1982. Chicago-style combo recordings featuring Frank Teschemacher: “Prince of Wails” (1929) by Elmer Schoebel and His Friar's Society Orchestra, with Dick Feige, Jack Read, Floyd Towne, Elmer Schoebel, Charlie Berger, John Kuhn, and George Wettling. * Classic Tenors. Signature/CBS: 38446, 1943, c1989. Coleman Hawkins with Eddie Heywood, Oscar Pettiford, and Shelly Manne: “The Man I Love” and “Sweet Lorraine”; Lester Young with Bill Coleman and Dicky Wells: “I Got Rhythm,” and others. Come and Trip It: Instrumental Dance Music, 1780s-1920s. New World: 80293, 1978, c1994. (mail order) * Cuttin' the Boogie. New World: NW 259, LP, 1926-41, c1977. “Pinetop's Boogie Woogie” by Pinetop Smith and “Honky Tonk Train Blues” by Meade Lux Lewis. Early Band Ragtime: Ragtime’s Biggest Hits, 1899-1909. Smithsonian/Folkways: RBF 38, c1979. (mail order) * Early Black Swing: The Birth of Big Band Jazz. RCA Bluebird: 9583, 1927-34, c1989. Fletcher Henderson: “Sugar Foot Stomp”; Bennie Moten: “Moten Swing”; Jimmie Lunceford: “White Heat” and “Swingin' Uptown”; Duke Ellington, Louis Armstrong, Earl Hines, McKinney's Cotton Pickers, Charlie Johnson, and the Missourians. * An Experiment in Modern Music: Paul Whiteman at Aeolian Hall. Smithsonian: 2028, LP, 1919-24, c1981. Includes “Livery Stable Blues” by the Original Dixieland Jazz Band. + The Gospel Sound. Columbia/Legacy: C2K 57160, 2CD set, 1926-68, c1994. Includes “One Day” by the Angelic Gospel Singers and Dixie Hummingbirds.

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The Greatest Jazz Concert in the World. Pablo: 2625-704, 3CD set, 1967, c1992. Concert with the entire Ellington band (“Chromatic Love Affair” featuring Harry Carney; “Swamp Goo” featuring Russell Procope) plus the Oscar Peterson Trio (Sam Jones and Louis Hayes), singer Ella Fitzgerald, and others. Hitsville USA: The Motown Singles Collection. Motown: 374 636 312, 4CD set, 1959-1971, c1992. Marvin Gaye, Supremes (“Reflections,” “Love Child”), Four Tops, Temptations (“Cloud Nine”), Miracles, Gladys Knight & the Pips (“I Heard It Through the Grapevine”), and others. * Jammin' for the Jackpot. New World: NW 217, LP, 1929-41, c1977. Includes 1941 “Ebony Silhouette” featuring Milt Hinton on bass with Cab Calloway. Jazz. Vol. 1, The South. Smithsonian/Folkways: 2801, c1950. Jazz. Vol. 2, The Blues. Smithsonian/Folkways: 2802, 1923-48. Jazz: Some Beginnings. Smithsonian/Folkways: RF 31, 1914-1926, c1977. (mail order) * Jazz in Revolution. New World: NW 284, LP, 1940-49, c1977. Includes “Mingus Fingers” featuring Charles Mingus with the Lionel Hampton band; “Donna Lee” arranged by Gil Evans for the Claude Thornhill band; “The Chase” by Dexter Gordon and Wardell Gray; and “Royal Roost” by Fats Navarro and Kenny Clarke. * Jazz Piano: A Smithsonian Collection. Smithsonian: 7002, 4CD set, 1924-78, c1989. Jelly Roll Morton, James P. Johnson, Willie "The Lion" Smith, Fats Waller, Earl Hines, Teddy Wilson, Meade Lux Lewis, Count Basie, Billy Kyle, Art Tatum, Duke Ellington, Nat King Cole, Erroll Garner, Bud Powell, Lennie Tristano, Dodo Marmarosa, Al Haig, Oscar Peterson, Thelonious Monk, Horace Silver, Herbie Nichols, Hank Jones, Tommy Flanagan, John Lewis, Bill Evans, McCoy Tyner, Chick Corea, Keith Jarrett, and Herbie Hancock, and others. Jazz: The Smithsonian Anthology. Smithsonian Folkways: 40820, 6CD set, c2010. Includes Original Dixieland Jazz Band, King Oliver, Jelly Roll Morton, Bix Beiderbecke, Bessie Smith, Duke Ellington, Louis Armstrong, James P. Johnson, Sidney Bechet, Fats Waller, Billie Holiday, Count Basie, Mary Lou Williams, Coleman Hawkins, Benny Goodman, Art Tatum, Dizzy Gillespie, Dexter Gordon, Bud Powell, Charlie Parker, Thelonious Monk, Lennie Tristano, Miles Davis, Gerry Mulligan, Stan Kenton, Clifford Brown, Modern Jazz Quartet, Horace Silver, Sonny Rollins, Nat King Cole, Stan Getz, J.J. Johnson, Art Blakey, John Coltrane, Charles Mingus, Dave Brubeck, Ornette Coleman, Cannonball Adderley, Sarah Vaughan, Bill Evans, Ella Fitzgerald, Chick Corea, Mahavishnu Orchestra, Herbie Hancock, Cecil Taylor, Weather Report, Keith Jarrett, Irakere, Steve Coleman, Michael Brecker, Tito Puente, Wynton Marsalis, John Zorn, and others.

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* Jive at Five. New World: NW 274, LP, 1927-46, c1976. Includes “Every Tub” and “Jive at Five” by Count Basie; “Passion Flower” by Johnny Hodges; “Pitter Panther Patter” by Duke Ellington and Jimmy Blanton; and “Body and Soul” by Coleman Hawkins. Ken Burns JAZZ: the Story of America’s Music. Sony/Legacy: C5K 61432, 5CD set, 1917-92, c2000. Includes Jim Europe, ODJB, James P. Johnson, King Oliver, Bessie Smith, Jelly Roll Morton, Fletcher Henderson, Louis Armstrong, Duke Ellington, Bix Beiderbecke, Bennie Moten, Jimmie Lunceford, Benny Goodman, Count Basie, Billie Holiday, Art Tatum, Pete Johnson, Chick Webb, Django Reinhardt, Coleman Hawkins, Artie Shaw, Tommy Dorsey, Gene Krupa, Dizzy Gillespie, Charlie Parker, Bud Powell, Thelonious Monk, Miles Davis, Sarah Vaughan, Chet Baker, Gerry Mulligan, Horace Silver, Clifford Brown/Max Roach, Sonny Rollins, Modern Jazz Quartet, Dave Brubeck, John Coltrane, Cecil Taylor, Ornette Coleman, Charles Mingus, Stan Getz, Weather Report, Grover Washington, Herbie Hancock, Dexter Gordon, and others. + Legends of the Blues. Vol. 1. Columbia: 46215, 1925-1965, c1990. * Legends of the Blues. Vol. 2. Columbia: 47467, 1929-1940, c1991. Vol. 1: Bessie Smith, Robert Johnson, Leadbelly, Lonnie Johnson, and others. Vol. 2: Roosevelt Sykes, Tampa Red, Charlie Spand, and others. * Masters of Jazz. Vol. 1. Traditional Jazz Classics. Rhino: 72468, 1923-92, c1996. King Oliver, New Orleans Rhythm Kings, Clarence Williams, Bessie Smith, Jelly Roll Morton, Bix Beiderbecke, Louis Armstrong, Fats Waller, Fletcher Henderson, Benny Goodman, Duke Ellington, Red Nichols, Sidney Bechet, and others. * Masters of Jazz. Vol. 2. Bebop’s Greatest Hits. Rhino: 72469, 1945-54, c1996. Dizzy Gillespie, Charlie Parker, Kenny Clarke, Lester Young, Dexter Gordon, Wardell Gray, Claude Thornhill, Thelonious Monk, Miles Davis, Bud Powell, James Moody, George Shearing, Clifford Brown, Max Roach, and others. * Masters of Jazz. Vol. 3. Big Bands of the ‘30s & ‘40s. Rhino: 72470, 1931-47, c1996. Bennie Moten, Don Redman, Fletcher Henderson, Chick Webb, Jimmie Lunceford, Benny Goodman, Andy Kirk, Count Basie, Erskine Hawkins, Duke Ellington, Earl Hines, Jay McShann, Jimmy Dorsey, Lionel Hampton, Billy Eckstine, and Dizzy Gillespie. * Masters of Jazz. Vol. 4. Big Bands of the ‘50s & ‘60s. Rhino: 72471, 1949-66, c1996. Woody Herman, Lionel Hampton, Duke Ellington, Stan Kenton, Count Basie, Maynard Ferguson, Gerald Wilson, Buddy Rich, Oliver Nelson, and others.

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* Mirage: Avant-Garde and Third-Stream Jazz. New World: NW 216, LP, 1946-61, c1977. Includes “Mirage” (arranged by Pete Rugulo) and “Egdon Heath” (arranged by Bill Russo) performed by the Stan Kenton big band; “Eclipse” by Charles Mingus; “Yesterdays” by Lennie Tristano; and “Concerto for Billy the Kid” by George Russell. * Nica's Dream. New World: NW 242, LP, 1955-64, c1977. “Nica's Dream” by Art Blakey; “Blues March” by the Jazztet; “Original Faubus Fables” by Charles Mingus; Sonny Rollins; and the Modern Jazz Quartet. * The 1930's - The Small Combos. Columbia: 40833, 1930-39, c1987. “Shoe Shine” (1936) by Jones-Smith Inc. (Basie/Lester Young); “Wabash Stomp” (1937) by Roy Eldridge; “Echoes of Harlem” (1938) by Cootie Williams. * The Original Mambo Kings. Verve: 314 513 876-2 (Clef), 1948-54, c1993. With Machito, Mario Bauzá, Charlie Parker, Howard McGhee, and Dizzy Gillespie. * Piano in Style. MCA: 1332, LP, 1926-30, c1980. Includes Pinetop Smith (“Boogie Woogie”), James P. Johnson, and Jelly Roll Morton. * Ragtime: Pianos, Banjos, Saxophones, Cake-Walks, Brass Bands, Jass.... RCA (France): 64122, 2CD set, 1900-1930, c2004. (import) Includes the Sousa Band, Jim Europe's Society Orchestra, Earl Fuller, the Original Dixieland Jazz Band, and others. Riverside History of Classic Jazz. Riverside/Fantasy: 005, 3CD set, ca.1900-1954, c1994. Includes Jelly Roll Morton, “The Pearls” (1923), and “Steady Roll” (1924); New Orleans Rhythm Kings, “Livery Stable Blues” (1922); Louis Armstrong and Sidney Bechet, “Cake Walkin' Babies from Home” (1924); Scott Joplin “The Cascades”; street cries of Charleston (that illustrate Afro-American pitch bending by Southern Negro street vendor); also brass bands, vocal blues, ragtime, black religious music, and numerous selections by early New Orleans and Chicago musicians. * The Roots of the Blues. New World: 80252, 1959, c1981. Field recordings by Alan Lomax. * The Smithsonian Collection of Classic Jazz. revised edition. Smithsonian: RJ0010 (2502), 5CD set, 1916-1981, c1987. Note: Critic-journalist Martin Williams has drawn from the vaults of many record companies to compile an ambitious collection for the Smithsonian Institute. It is an excellent place to find one or more good examples of a particular musician's work without purchasing the albums from which the selections were taken. It would take months, even years, to obtain the selections contained in this collection separately. However, it should not be purchased with the intention of gaining a well-balanced view of jazz history because of the lengthy list of historically significant players and groups omitted: tenor saxophonist Albert Ayler, pianist-composer-bandleader Sun Ra, The Original Dixieland Jazz Band, Stan Kenton's big bands, Woody Herman's big bands, Stan Getz (Smithsonian

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Collection of Classic Jazz (revised) has 8 measures of Getz on a Red Norvo recording of “Body and Soul”), post-1963 John Coltrane, pianist-composer-bandleaders Herbie Hancock, Chick Corea, Keith Jarrett, combos led by composer-baritone saxophonist Gerry Mulligan, the combos of Art Blakey and Horace Silver (SCCJ-R (revised) has one selection by a Silver quintet of 1958), and combos led by Miles Davis during the 1960's and 1970's. There is nothing representing the past 30 years of jazz history, except one selection by the World Saxophone Quartet. Of course, it is not what the collection omits that is important, but what it includes. The following is a partial listing: LOUIS ARMSTRONG - eight selections including “West End Blues” (1928) with Earl Hines; a duet with Hines called “Weather Bird” (1928); “Hotter Than That” (1927) with Johnny Dodds, Kid Ory, Lil Hardin Armstrong, Lonnie Johnson, and Johnny St. Cyr. BIX BEIDERBECKE - “Singin' the Blues” (1927) with Frankie Trumbauer. DON BYAS - “I Got Rhythm” (1945): duet with Slam Stewart. ORNETTE COLEMAN - “Congeniality” and “Lonely Woman” with Don Cherry, and an excerpt from Free Jazz. MILES DAVIS - “Boplicity” (Birth of the Cool, 1949), and “So What”(Kind of Blue, 1959) with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb. DUKE ELLINGTON - eight big band selections including “Concerto for Cootie,” “Harlem Air Shaft,” and “Ko-Ko” (all 1940); SCCJ-R has “Cottontail” (1940) but not “Harlem Airshaft.” ROY ELDRIDGE - big band version of “Rockin' Chair” (1941). DIZZY GILLESPIE - “I Can't Get Started” (1945), and “Shaw 'Nuff” (1945) with Charlie Parker, Al Haig, Curly Russell, and Sid Catlett. BENNY GOODMAN - “Body and Soul” (1935) with Teddy Wilson, and “I Found a New Baby” and “Breakfast Feud” (1941) with Charlie Christian. COLEMAN HAWKINS - the famous “Body and Soul” (1939). FLETCHER HENDERSON - “Stampede” (1926) and “Wrappin' It Up” (1934). JAMES P. JOHNSON - “Carolina Shout” (1921). LEE KONITZ - “Crosscurrent” (1949) with Konitz, Warne Marsh, Billy Bauer, and Lennie Tristano; SCCJ-R substitutes “Subsconsious Lee” with all but Marsh. MEADE LUX LEWIS - the famous “Honky Tonk Train Blues” (1937). JIMMIE LUNCEFORD - “Lunceford Special” (1939); SCCJ-R substitutes “Organ Grinder's Swing” (1936). CHARLES MINGUS - “Hora Decubitus” (1963); SCCJ-R substitutes 1957 “Haitian Fight Song” (1957). THELONIOUS MONK - six selections including “Criss Cross” and “Misterioso” (SCCJ-R contains five Monk selections). JELLY ROLL MORTON - “Black Bottom Stomp,” “Dead Man Blues,” and “Grandpa's Spells” (1926). KING OLIVER - “Dippermouth Blues” (1923) with Johnny Dodds and Louis Armstrong. CHARLIE PARKER - seven selections including two versions of “Embraceable You” (1947), one version of “Parker's Mood” (1948), and one of his fastest performances: “Ko-Ko” (1945); SCCJ-R has eight Parker selections.

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BUD POWELL - “Somebody Loves Me” (1947) with Curly Russell and Max Roach; SCCJ-R substitutes “A Night in Tunisia” (1951). SONNY ROLLINS - “Blue Seven” (1956) with Tommy Flanagan, Doug Watkins, and Max Roach. ART TATUM - “Willow Weep for Me” (1949) and “Too Marvelous for Words” (1956). CECIL TAYLOR - a selection from Unit Structures (1966). FATS WALLER - “I Ain't Got Nobody” (solo piano - 1927). WORLD SAXOPHONE QUARTET - “Steppin'” (1981 - only in revised). LESTER YOUNG - “Lester Leaps In” and “Taxi War Dance” (1939), both with Count Basie. * The Sousa and Pryor Bands: Original Recordings, 1901-1926. New World: NW 282, LP, c1976. * Steppin' On the Gas: Rags to Jazz. New World: NW 269, LP, 1913-1927, c1977. “She's Cryin' for Me Now” (1925) by the New Orleans Rhythm Kings; “Ory's Creole Trombone” and “Society Blues” (1922) by Kid Ory; as well as several nonjazz pieces that cast light on where jazz originated (including 1914 band ragtime by James Reese Europe). Stomp and Swerve: American Music Gets Hot. Archeophone: 1003, 1897-1925, c2003. Includes the Sousa Band, Jim Europe's Society Orchestra, Earl Fuller, the Original Dixieland Jazz Band, and others. * The Story of the Blues. Columbia/Legacy: C2K 86334 (30008), 2CD set, 1928-1968, c2003. Compiled by Paul Oliver. Street Cries & Creole Songs of New Orleans. Folkways: 2202 (FP 602), c1956. (mail order) * Sweet and Low. New World: NW 256, LP, 1926-33, c1977. Includes “Sweet and Low Blues” and “Til Times Get Better” by Jabbo Smith. * That's My Rabbit, My Dog Caught It: Traditional Southern Instrumental Styles. New World: NW 226, LP, 1925-77, c1978. * Thesaurus of Classic Jazz. Columbia: C4L 18, 4LP set, 1927-30, c1959. Includes twelve 1927-30 recordings by Miff Mole and His Molers (“At the Darktown Strutters Ball” with Red Nichols and Jimmy Dorsey, “That's a Plenty” with Jimmy Dorsey and Eddie Lang); eleven 1927 recordings with Red Nichols and the Charleston Chasers (“Farewell Blues” with Jimmy Dorsey and Miff Mole, “Five Pennies” with Pee Wee Russell); and other groups.

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ACID JAZZ, HIP HOP, AND TECHNO ANTHOLOGIES * The New Groove. The Blue Note Remix Project, Vol. 1. Blue Note: TOCP-65755 (36594), c1996. * A New Type of Jazz. New Breed: 020, c1994. Includes “Move Y’all,” “Racial Facial,” and “T.S.O.J.” * Rave ‘Til Dawn: Techno’s Finest. SBK/EMI: 27018, c1993. * Red Hot Trip Hop. Street Beat: 1021, c1996. * The Source Presents: Hip Hop Hits. Vol. 1. Polygram: 314 536 204, c1997. * This Is Acid Jazz. Vol. 1. Instinct: EX225, c1991. * This Is Acid Jazz. Vol. 2. Instinct: EX244, c1992. Includes “Keep On.” + This Is Acid Jazz: New Voices 3. Instinct: EX338, c1996. DISCOGRAPHY OF RECORDINGS CITED IN CONCISE GUIDE TO JAZZ What follows is information to help you find recordings that are cited in Concise Guide to Jazz. Music discussed in the text that is contained in The Smithsonian Collection of Classic Jazz is not covered in as much detail here because it is described within the SCCJ set. And there are fewer citations for many musicians whose work is available in SCCJ, especially those for whom SCCJ was the only citation in the text. This is not a list of recommended "essential" albums, though most are indeed excellent. What lies here is simply information that would not fit in the textbook itself and/or would be more convenient if compiled separately. The apportionment of contents here should not be construed to indicate the relative importance of any musicians. The entries for Duke Ellington, Miles Davis, and Stan Kenton, for example, far outnumber those for other players who are equally important. Frequently, as with Ellington, Davis and Kenton, the number of entries listed for a particular musician reflects only the number illustrations suggested for facets described in the text passages devoted to those particular musicians, and some text passages mention more facets than other text passages mention. Consequently there are more albums listed here for the musicians treated in those passages than for musicians treated in other passages. Some entries represent my own self-imposed, but not entirely adhered to, requirement to try to recommend at least one representative work for each musician or band that is mentioned in the text. Current catalog numbers and reissues have been added to or substituted for older ones that were listed in the first edition's discography. The listing in this discography of performers such as Bob James and Kenny G is not meant to reflect a judgment of musical creativity on the same level as artists whose styles are discussed at length in the text, but simply to provide examples of the “smooth jazz” style. An additional feature of this discography is the inclusion of album lists under a major player's name that illustrate his stylistic development in the context of albums under other bandleaders' names. For example, the John Coltrane section cites a Dizzy Gillespie album

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which features an early Coltrane solo; the Chick Corea section contains Herbie Mann albums that feature early Corea solos. For the convenience of readers who are interested in big band arranging, Count Basie and Stan Kenton albums are organized by arranger. Note that as we went to press, a few Stan Kenton albums on Creative World were still available by mail from GNP Crescendo, Suite 104, 8271 Melrose Ave., Los Angeles, CA 90046; phone: 800-654-7029; web: www.gnpcrescendo.com. Others listed in this discography are in-print on Capitol. All the albums listed in this discography are available to anyone willing to seek quality record stores or contact the mail order firms listed below. The author knows several individuals who bought the first edition of Jazz Styles in 1978, and, by now, have acquired every album they wanted that was mentioned in that book's discography. They watched for reissues, followed auction lists and corresponded with the mail order firms that were listed in the text's Guide to Record Buying. For obtaining albums listed here, consult the record dealers and importers that are listed. For out-of-print recordings, contact the rare record dealers, auction lists, eBay, and used-CD sources such as amazon.com Marketplace. I am very grateful for the professional effort of William E. Anderson in updating and editing this discography. Bill's advice and assistance have been indispensable in the preparation of Concise Guide to Jazz and this manual. REGARDING ASTERISKED RECORDINGS It is sometimes necessary to cite out-of-print recordings. One reason is that many historically significant recordings were not in print at press time. Another reason is that recommending only current issues would be an unintentional disservice to the musician who has no work in print at press time or whose best work is yet to be reissued. Given a choice between an out-of-print record representing a player's best work and a current one that does not do the player justice, the out-of-print one has been listed. Personnel, tune titles, and recording dates are included so that if the item is reissued, you can recognize it. You can look for the original copy in libraries, used record stores, rare record dealers, and the cut-out bins, that are in some record and book stores. It may be helpful to subscribe to jazz magazines that run record sales and list auctions and rare record finding services. For helpful strategies in obtaining jazz albums, especially out-of-print items, consult the book’s appendix “Music Buying Strategies” Also see the list of importers and record dealers.

For information about the availability of recordings, the following may be useful: All Music

www.allmusic.com

eJAZZLINES

www.ejazzlines.com

MUZE

CD-ROM or online catalog available in many libraries and stores or at www.rovicorp.com

Websites of various jazz record companies may also be useful. Some of the records listed here might be out-of-print by the time you read this, so the details attached to the entries constitute your key to finding them in reissued form. Chances

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are good that, within a few years of your reading this, some important works that were out-ofprint -- denoted by an asterisk (*) -- will have been reissued. Items marked (+) are currently available as downloads from various websites including Amazon.com and record company sites. In the following discography, the most recent issue number is listed first. Original and/or alternate release numbers are listed in parentheses.

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INFORMATION FOR MAIL ORDER LABELS Creative World (Kenton) c/o GNP Crescendo Records 8400 Sunset Blvd. Hollywood, CA 90069 800-654-7029 www.gnpcrescendo.com

Mosaic Records 425 Fairfield Ave., Suite 421 Stamford, CT 06902 tel: 203-327-7111 fax: 203-323-3526 www.mosaicrecords.com

Smithsonian Folkways Recordings 600 Maryland Ave., SW, Suite 2001 Washington, DC 20024 tel: 1-888-FOLKWAYS or 202-633-6450 fax: 202-633-6477 www.si.edu/folkways/ New World Records The Recorded Anthology of American Music (New World 20 Jay Street, #1001 Records) was distributed to many libraries. Some titles Brooklyn, NY 11201 can still be ordered from this address. Liner notes for out-of-print Tel: 212-290-1680 albums are available on the website. www.newworldrecords.org

MAIL ORDER SOURCES FOR JAZZ RECORDINGS (INCLUDING IMPORTS) Klompfoot Cadence Building Redwood, NY 13679 tel: 315-287-2852 www.klompfoot.com

True Blue Music 425 Fairfield Ave. , Suite 421 Stamford, CT 06902 tel: 203-327-7111 fax: 203-323-3526 www.truebluemusic.com

Double-Time Jazz /TheMusicResource.com P.O. Box 146 Floyds Knobs, IN 47119-0146 fax: 812-923-1971 www.themusicresource.com

J&R Music World tel: 800-806-1115 www.jr.com

The Jazz Loft www.jazzloft.com

Jazz Record Mart www.jazzmart.com

Downtown Music Gallery www.dtmgallery.com

www.amazon.com

FOR OUT-OF-PRINT RECORDINGS AND AUCTION LISTS International Association of Jazz Record Collectors: www.

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iajrc.org

KEY TO INFORMATION IN DISCOGRAPHY

artist

label and current catalog number title alternate or series title original issue number

CANNONBALL ADDERLEY * Cannonball and Coltrane [Quintet in Chicago]. Emarcy: 834 588-2 (MG-20449), 1959, c1999. with John Coltrane, Wynton Kelly, Paul Chambers, and Jimmy Cobb: “Limehouse Blues,” “Stars Fell on Alabama,” “Grand Central.”

year recorded, year published

format available (if not CD)

personnel

LP = long-playing record selected tunes from session AC = audio cassette NOTE: ALL ITEMS ARE COMPACT DISCS UNLESS OTHERWISE INDICATED. * = out of print (2012); many are still available from used dealers, including Amazon.com + = out of print but available as a download from recording firm’s website or Amazon.com.

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CANNONBALL ADDERLEY, 1928-1975 (Alto Sax) Quintet in Chicago [Cannonball and Coltrane]. Mercury: 559 770-2 (MG-20449), 1959, c1999. With John Coltrane, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Them Dirty Blues. Capitol Jazz: 95447 (Riverside 322), 1960, c1989. With Nat Adderley, Barry Harris or Bobby Timmons, Sam Jones, and Louis Hayes: “Jeannine,” “Dat Dere,” “Del Sasser,” “Work Song,” and others. At the Lighthouse. Capitol Jazz: 31572 (Riverside 344), 1960, c2001. Includes “Sack o’ Woe.” Jazz Workshop Revisited. Blue Note: 29441 (Riverside 444), 1962, c2001. Includes “Jive Samba.” Cannonball in Europe. Capitol Jazz: 60436 (Riverside 499), 1962, c2005. With Nat Adderley, Yusef Lateef, Joe Zawinul, Sam Jones, and Louis Hayes; includes “Trouble in Mind.” Mercy, Mercy, Mercy. Capitol: 29915 (ST 2663), 1966, c1995. With Nat Adderley, Joe Zawinul, Victor Gaskin, and Roy McCurdy; recommended not for the popular “Mercy, Mercy, Mercy,” but for some blazing solos and driving rhythm section on “Fun” that seems to show roots in both the hard bop style of the 1950s and Coltrane's methods of the 1960s. Best of Cannonball Adderley: The Capitol Years. Capitol Jazz: 95482, 1962-69, c1991. Includes “Work Song,” “Jive Samba,” “Mercy, Mercy, Mercy,” ”Walk Tall,” and “Country Preacher.” see MILES DAVIS - Miles Davis & John Coltrane: The Complete Columbia Recordings 1955-1961, Miles and Coltrane, Milestones, '58 Sessions, and Kind of Blue see ANTHOLOGIES - The Smithsonian Collection of Classic Jazz LOUIS ARMSTRONG, 1901-1971 (Trumpet/Singer) Ken Burns JAZZ Collection: Louis Armstrong. Sony/Legacy: 61440 (OKeh/RCA/Decca), 1923-67, c2000. *Louis Armstrong and Sidney Bechet in New York. Smithsonian: 2026, 2LP set, 1923-25, c1981. “Wild Cat Blues,” “Cake Walkin' Babies from Home,” and others. Louis Armstrong: Portrait of the Artist as a Young Man. Columbia/Legacy: 85670 (57176), 4CD set, 1923-34, c1994.

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Hot Fives and Sevens. JSP: JSPLOUISBOX 100 (OKeh), 4CD set, 1925-29, c[1991]. (import) * The Complete Hot Five and Hot Seven Recordings. Columbia/Legacy: C4K 63527 (OKeh), 4CD set, 1925-29, c2000. The Complete Hot Five and Hot Seven Recordings. Vol. 1. Columbia/Legacy: 86999 (OKeh), 1925-26, c2003. The Complete Hot Five and Hot Seven Recordings. Vol. 2. Columbia/Legacy: 87010 (OKeh), 1926-27, c2003. + The Complete Hot Five and Hot Seven Recordings. Vol. 3. Columbia/Legacy: 87011 (OKeh), 1927-28, c2003. Vol. 1: “Heebie Jeebies,” “Cornet Chop Suey,” “Muskrat Ramble,” and “King of the Zulus”; Vol. 2: “Big Butter and Egg Man,” “Wild Man Blues,” “Alligator Crawl,” “Potato Head Blues,” and “Twelfth Street Rag”; Vol. 3: “S.O.L. Blues,” “Struttin' with Some Barbecue,” “I'm Not Rough,” “Hotter Than That,” “Fireworks,” “Skip the Gutter,” “A Monday Date,” “West End Blues,” “Sugar Foot Strut,” “No Papa No,” “Weather Bird,” “Muggles,” “St. James Infirmary,” “Tight Like This,” and others. * Louis Armstrong and Earl Hines. Smithsonian: 2002, 2LP set, 1928, c1981. + The Complete RCA Victor Recordings. RCA Bluebird: 63846, 4CD set, 1932-33, 1946-47, 1956, c2000. Sugar: Best of the Complete RCA Victor Recordings. RCA Bluebird: 63851, 1932-47, c2001. The above items include “That’s My Home,” “I Gotta Right to Sing the Blues,” “Basin Street Blues,” “I’ve Got the World on a String,” and others. see KING OLIVER see BESSIE SMITH see ANTHOLOGIES - The Smithsonian Collection of Classic Jazz COUNT BASIE, 1904-1984 (Piano/Big Band) + Kansas City Powerhouse. RCA Bluebird: 63903 (Victor/Bluebird), 1929-32, 1947-49, c2002. Includes “Moten Swing” (1932) and other recordings by the Bennie Moten Orchestra, with Basie on piano plus the Basie band of the late 1940s. Ken Burns JAZZ Collection: Count Basie. Verve: 549 090-2 (Bluebird/Decca/Columbia/Verve/Roulette), 1932-57, c2000. The Complete Decca Recordings. Decca Jazz: GRD3-611, 3CD set, 1937-39, c1992. + The Best of Early Basie. Decca Jazz/GRP: 655, 1936-38, c1996. “One O'Clock Jump,” “Jumpin' at Woodside,” “Topsy,” “Jive at Five,” “Doggin’ Around,” “Cherokee,” and others. + America’s #1 Band. Columbia/Legacy: C4K 87110 (Vocalion/Okeh/Columbia), 4CD set, 1936-51, c2003. + The Essential Count Basie. Vol. 1. Columbia: 40608 (Vocalion), 1936-39, c1987.

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+ The Essential Count Basie. Vol. 2. Columbia: 40835 (Vocalion), 1939-40, c1987. Vol. 1: “Lady Be Good,” “Shoe Shine Boy,” “Pound Cake,” and “Taxi War Dance”; Vol. 2: “Dickie’s Dream” and “Lester Leaps In”; America’s #1 Band includes all of these and many more with improved sound quality. *The Complete Clef/Verve Count Basie Fifties Studio Recordings. Mosaic: MD8-228, 8CD set, 1952-57, c2006. *The Complete Roulette Studio Recordings of Count Basie and His Orchestra. Mosaic: MD10-149, 10CD set, 1957-61, c1993. Includes the following albums listed on this page: Kansas City Suite, The Legend, Basie, Basie Plays Hefti, One More Time, and Chairman of the Board. Best of the Roulette Years. Blue Note: 97969, 1957-61, c1991. Atomic Swing. Blue Note: 97871 (Roulette), 1957-60, c1999. see ANTHOLOGIES - Anthology of Big Band Swing, Big Band Jazz, Big Band Renaissance, Jazz Piano, Jive at Five, Ken Burns JAZZ, and Smithsonian Collection of Classic Jazz (The following list of Basie recordings is organized by arranger.) BILLY BYERS * More Hits of the 50s and 60s. Verve: V-8563, LP, 1963, c1963. Basie Land. Verve: B0012699-02 (V-8597), 1963, c2009. BENNY CARTER Kansas City Suite. Roulette: 94575 (52056), 1960, c1990. * The Legend. Roulette: 59038 (52086), 1961, c1985. NEAL HEFTI The Complete Atomic Basie. Roulette: 28635 (52003), 1957, c1994. * Basie Plays Hefti. Roulette: 52011, LP, 1958, c1958. On My Way and Shoutin' Again. Verve: B0012368-02 (V8511), 1962, c2009. QUINCY JONES * One More Time. Roulette: 97271 (52024), 1958-59, c1991. + Li'l Ol' Groovemaker. Verve: 821 799-2 (V-8549), 1963, c1980.

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THAD JONES Chairman of the Board. Roulette: 81664 (52032),1959, c2003. SAMMY NESTICO Straight Ahead. GRP: 822 (Dot 25902), 1967, c1998. * Have a Nice Day. Emarcy: 824 867-2 (Daybreak 2005), 1971. ERNIE WILKINS * Sixteen Men Swingin’ [Dance Session]. Verve: VE2-2517 (MGC-626/MGC-647), 2LP set, 1953-54, c1977. Hall of Fame. Fresh Sound: 567 (Verve MGV8291), 1956, c2010. (import)

BIX BEIDERBECKE, 1903-1931 (Cornet) * The Complete OKeh & Brunswick Recordings of Bix Beiderbecke, Frankie Trumbauer and Jack Teagarden. Mosaic: MD7-211, 7CD set, 1924-36, c2001. Bix & Tram. JSP: 913, 4CD set, 1924-34, c2002. (import) Bix Beiderbecke. Vol. 1. Singin' the Blues. Columbia: 45450, 1927-28, c1990. Frankie Trumbauer, Joe Venuti, Eddie Lang: “Singin' the Blues,” “In a Mist,” and others. Bix Beiderbecke. Vol. 2. At the Jazz Band Ball. Columbia: 46175, 1927-28, c1990. “A Good Man Is Hard to Find,” “Mississippi Mud,” and others. + The Indispensable Bix Beiderbecke. RCA: 66540, 2CD set, 1925-30, c1992. With Jean Goldkette, Paul Whiteman, and own groups. see ANTHOLOGIES - The Smithsonian Collection of Classic Jazz, Big Band Jazz, and Ken Burns JAZZ GEORGE BENSON, 1943- (Guitar/Singer) Breezin’. Warner Bros.: 3111 (2919), 1976, c1985. In Flight. Friday Music/Warner Bros.: 2983, 1976, c2011. BIRTH * Birth. Mr. Small’s Funhouse, 1999. * Find. Hopscotch: 11, 2001, c2002. With Josh Smith, Jeremy Bleich, and Joe Tomino.

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ART BLAKEY, 1919-1990 (Drums/Bandleader) Ken Burns JAZZ Collection: Art Blakey. Verve: 549 089-2 (Blue Note/Timeless), 1954-81, c2000. A Night at Birdland. Vols. 1 & 2. Blue Note: 32146/32147 (1521/1522), 2CDs, 1954, c2001. Live recordings with Clifford Brown, Lou Donaldson, Horace Silver, and Curly Russell; some volatile moments in Blakey's drum style; Silver's piano style is more Bud Powell-like here than the leaner conception Silver employed later. The Jazz Messengers. Columbia/Legacy: 65265 (CL 897), 1956, c1997. With Donald Byrd, Hank Mobley, and Horace Silver; excellent Byrd work and two Silver compositions; this recording is recommended for some of the most well-constructed solos of Hank Mobley's career: “Ecaroh,” “Nica's Dream” (both by Silver), “Carol's Interlude,” “Hank's Symphony,” and “Infra-Rae” (all by Mobley). (Sbme Special Mkts.) Hard Bop. Mosaic: MCD-1005 (Columbia CL 1040), 1956, c2006. Hard Bop; Paris Concert. Collectables: 5675 (Columbia CL1040), 1956, 1958, c1995. With Bill Hardman, Jackie McLean, Sam Dockery, and Spanky DeBrest; includes “Cranky Spanky” (1956). Moanin’. Blue Note: 95324 (84003), 1958, c1999. Includes Bobby Timmons’s “Moanin’.” * The Complete Blue Note Recordings of Art Blakey's 1960 Jazz Messengers. Mosaic: MD6-141, 6CD set, 1960-61, c1992. With Lee Morgan, Wayne Shorter, and Bobby Timmons. A Night in Tunisia. Blue Note: 64474 (84049), 1960, c2005. With Morgan, Shorter, and Timmons. Mosaic. Blue Note: 37769 (84090), 1961, c2006. With Freddie Hubbard, Curtis Fuller, Wayne Shorter, and Cedar Walton. + The Witch Doctor. Blue Note: 21957 (84258), 1961, c1999. + Roots and Herbs. Blue Note: 21956 (84347), 1961, c1999. Three Blind Mice. Vols. 1 & 2. Blue Note: 84451/84452, 2CDs, 1962, c1990. With Hubbard, Fuller, Shorter, and Cedar Walton. Caravan. Riverside: 30187 (RLP-9438), 1962, c2007. Ugetsu. Original Jazz Classics: 32692 (Riverside RLP-9464), 1963, c2011. Live recordings with Hubbard, Fuller, and Shorter. Indestructible. Blue Note: 80915 (84193), 1964, c2003. With Lee Morgan, Wayne Shorter, and Curtis Fuller.

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+ Buttercorn Lady. Emarcy: 822 471-2 (Limelight 82034), 1966,

c1986.

Album of the Year. Timeless: 74503 (155), 1981, c2010. Keystone 3. Concord: 4196, 1982, c1990. Both with Wynton Marsalis on trumpet. see HORACE SILVER - Horace Silver and The Jazz Messengers see ANTHOLOGIES - Ken Burns JAZZ and Nica's Dream CARLA BLEY, 1938- (Composer-Arranger, Keyboards) Selected Recordings. :rarum xv. ECM: B0001795-02 (Watt), 1971-99, c2004. Escalator over the Hill. Watt/ECM: 1802 (EOTH), 2CD set, 1968-71, c2000. + European Tour 1977. Watt/ECM: 8, 1977, c1978. Social Studies. Watt/ECM: 11, 1981, c2000. + Fleur Carnivore. Watt/ECM: 21, 1988, c1989. The Very Big Carla Bley Band. Watt/ECM: 23, 1990, c1991. Big Band Theory. Watt/ECM: 25, 1993, c2000. + The Carla Bley Big Band...Goes to Church. Watt/ECM: 27, 1996, c2000. Fancy Chamber Music. Watt/ECM: 28, 1997, c2000. 4 x 4. Watt/ECM: 30, 1999, c2000. Looking for America. Watt/ECM: 31, 2002, c2003. BLOOD, SWEAT AND TEARS (Jazz-Rock Band) Child Is Father to the Man. Columbia/Legacy: 63987 (9619), 1967, c2000. (Sbme Special Mkts.) Blood Sweat and Tears. Columbia/Legacy: 63986 (9720), 1968, c2000. MICHAEL BRECKER, 1949-2007 (Tenor Sax) Michael Brecker. MCA: 5980, c1986. Don’t Try This at Home. Impulse!: 42229, c1988. see CLAUS OGERMANN - Cityscape

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MICHAEL and RANDY BRECKER (Tenor Sax/Trumpet) Brecker Brothers: Heavy Metal Bebop. Arista, 1978, c2008. Brecker Brothers: Return of the Brecker Brothers. Verve: B0011225-02 (GRP 9684), 1992, c2008. see HORACE SILVER - In Pursuit of the 27th Man PETER BRÖTZMANN, 1941- (Tenor Sax/Clarinet) Sacred Scrape/Secret Response. Rastascan: 015, 1992, c1994. CLIFFORD BROWN, 1930-1956 (Trumpet) The Complete Blue Note and Pacific Jazz Recordings. Blue Note: 34195, 4CD set, 1953-54, c1995. Brownie: The Complete Emarcy Recordings of Clifford Brown. Emarcy: 838 306, 10CD set, 1954-56, c1989. Clifford Brown and Max Roach. Verve: 314 543 306-2 (Emarcy 36036), 1954, c2000. With Harold Land, Richie Powell, and George Morrow. Clifford Brown and Max Roach at Basin Street. Emarcy: 589 826 (MG-36070), 1956, c2002. Studio recordings with Sonny Rollins: “What Is This Thing Called Love” and “Gertrude’s Bounce.” see ART BLAKEY - A Night at Birdland see J.J. JOHNSON – The Eminent J.J. Johnson see SONNY ROLLINS – Sonny Rollins Plus 4 see ANTHOLOGIES – Bebop and Ken Burns JAZZ JAMES BROWN, 1933-2006 (R&B-Funk Band) Star Time. Polydor: 849 108 (King), 4CD set, 1956-1974, c1991. 50th Anniversary Collection. Polydor: B0001125-02, 2CD set, 1959-88, c2003. 20 All Time Greatest Hits. Polydor: 314 511 326, 1956-74, c1991. All of the above include “Cold Sweat” (1967). DAVE BRUBECK, 1920- (Piano) Ken Burns JAZZ Collection: Dave Brubeck. Sony/Legacy: 61442 (Fantasy/Columbia/Atlantic/MusicMasters), 1953-91, c2000. The Dave Brubeck Octet. Fantasy: OJC-101 (Fantasy 3-239), 1946-49, c1991. With Dick Collins, Bob Collins, Paul Desmond, Bob Cummings, Dave Van Kriedt, Bill Smith, Dave Brubeck, Ron Crotty, and Cal Tjader; some of these arrangements sound like the Birth of the Cool, historically interesting in light of the fact that these were made before the Miles Davis Nonet recorded.

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Jazz at Oberlin. Concord: 31991 (Fantasy 3-245), 1953, c2010. Concert. “These Foolish Things,” “Perdido,” and “How High the Moon.” + Gone with the Wind. Columbia: 40627 (CS 8156/CL 1347), 1959, c1983. With Desmond, Gene Wright, and Joe Morello. Brubeck's most relaxed date. Time Out. Columbia/Legacy: 65122 (CS 8192/CL 1397), 1959, c1997. With Desmond and Morello: “Take Five” and “Blue Rondo a la Turk.” Time Further Out. Columbia/Legacy: 64668 (CS 8490/CL 1690), 1961, c1996. ORNETTE COLEMAN, 1930- (Alto Sax) Ken Burns JAZZ Collection: Ornette Coleman. Sony/Legacy: 61450 (Contemporary/Atlantic/Blue Note/Columbia/Horizon), 1958-76, c2000. Complete Live at the Hillcrest Club. Gambit: 69272 (Inner City), 1958, c2008. With Don Cherry, Paul Bley, Charlie Haden, and Billy Higgins; includes Charlie Parker’s “Klactoveesedstene.” Something Else! Contemporary: 32845 (7551), 1958, c2011. With Don Cherry, Walter Norris, Don Payne, and Billy Higgins; all tunes by Coleman: “Invisible,” “The Blessing,” “When Will the Blues Leave?,” “Jayne,” and others. + Beauty Is a Rare Thing: The Complete Atlantic Recordings. Rhino: 71410, 6CD set, 1959-61, c1993. The Shape of Jazz to Come. Rhino/Atlantic: 1317, 1959, c1992. With Don Cherry, Charlie Haden, and Billy Higgins: “Lonely Woman,” “Congeniality,” and “Peace.” Change of the Century. Atlantic: 81341 (1327), 1959, c1992. With Cherry, Haden and Higgins: “Ramblin',” and others. Free Jazz. Atlantic: 1364, 1960, c1988. Recording of one, uninterrupted, collective improvisation, employing very little preset structure; with Ornette Coleman, Eric Dolphy, Don Cherry, Freddie Hubbard, Scott LaFaro, Charlie Haden, Billy Higgins, and Ed Blackwell. At the Golden Circle. Vol. 1. Blue Note: 35518 (84224), 1965, c2002. Concert by Coleman, David Izenzon, and Charles Moffett: “Faces and Places,” “European Echoes,” “Dee Dee,” and “Dawn.” * Forms and Sounds: The Music of Ornette Coleman. RCA Bluebird: 6561 (LSC-2982), 1968, c1987. Includes Coleman's “Forms and Sounds” played by the Philadelphia Woodwind Quintet with trumpet interludes played by Coleman; and “Saints and Soldiers” and “Space Flight” played by the Chamber Symphony of Philadelphia Quartet.

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The Complete Science Fiction Sessions. Columbia/Legacy: C2K 63569 (31061), 2CD set, 1971-72, c2000. Includes “Civilization Day” with Don Cherry, Charlie Haden, Billy Higgins. + Skies of America. Columbia/Legacy: 63568 (31562), 1972, c2000. Coleman's writing, performed by the London Symphony Orchestra conducted by David Measham with Coleman on saxophone. + Dancing in Your Head. Verve: 314 543 519-2 (Horizon SP-722), 1976, c2000. Electric band. * Of Human Feelings. Antilles 2001, 1979, c1982. Electric band. * In All Languages. Harmolodic/Verve: 531 915-2 (Caravan of Dreams 85008), 1987, c1997. Half with Don Cherry, Charlie Haden, and Billy Higgins; half with the electric band: Prime Time. see ANTHOLOGIES - Ken Burns JAZZ and The Smithsonian Collection of Classic Jazz STEVE COLEMAN, 1956- (Alto Sax) * Motherland Pulse. Winter & Winter: 919001 (JMT 850001), 1985, c2001. World Expansion. Winter & Winter: 919010 (JMT 870 101), 1986, c2002. * Curves of Life. RCA Victor: 31693, 1995, c1995. * Genesis & The Opening of the Way. RCA Victor: 52934, 2CD set, 1997, c1997. JOHN COLTRANE, 1926-1967 (Tenor Sax/Soprano Sax) * The Last Giant: The John Coltrane Anthology. Rhino: 71255, 2CD set, 1946-67, c1993. Includes early solos with Dizzy Gillespie, Gay Crosse, and Johnny Hodges, plus a selection of Blue Note and Atlantic recordings. Blue Train. Blue Note: 95326 (81577), 1957, c2003. With Lee Morgan, Curtis Fuller, Paul Chambers, and Philly Joe Jones. The Prestige Recordings. Prestige: 4405, 16CD set, 1956-58, c1991. Traneing In. Prestige: 30156 (7123), 1957, c2007. With Red Garland, Paul Chambers, and Art Taylor. Soultrane. Prestige: 30006 (7142), 1958, c2006. With Garland, Chambers, and Taylor: “Good Bait,” “Theme for Ernie,” “I Want to Talk about You,” and others.

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Ken Burns JAZZ Collection: John Coltrane. Verve: 549 083-2 (Atlantic/Impulse!), 1956-67, c2000. The Heavyweight Champion: The Complete Atlantic Recordings. Rhino: 71984, 7CD set, 1959-61, c1995. Giant Steps. Atlantic: 1311, 1959, c1988. With Tommy Flanagan, Elvin Jones; “Giant Steps,” “Countdown,” and “Naima.” + Coltrane Jazz. Rhino: 79891 (Atlantic 1354), 1959, c2000. My Favorite Things. Rhino: 75204 (Atlantic 1361), 1960, c1998. Includes “My Favorite Things.” Coltrane Plays the Blues. Atlantic: 1382, 1960, c1989. + Avant-Garde. Atlantic: 1451, 1960, c1990. Olè Coltrane. Atlantic: 1373, 1961, c1989. Includes “Olè” with Eric Dolphy. The Complete Africa/Brass Sessions. Impulse!: IMPD2-168 (A-6), 2CD set, 1961, c1995. Coltrane: The Complete 1961 Village Vanguard Recordings. Impulse!: IMPD4-232, 4CD set, 1961, c1997. With Eric Dolphy, McCoy Tyner, Jimmy Garrison, Reggie Workman, Elvin Jones, and others; includes “Spiritual,” “Chasin’ the Trane,” “Impressions,” “India,” and others. Impressions. Impulse!: 314 543 416-2 (A-42), 1961-63, c2000. Includes “Impressions” and “India.” + The Classic Quartet: Complete Impulse! Studio Recordings. Impulse!: IMPD8-280, 8CD set, 1961-65, c1998. With McCoy Tyner, Jimmy Garrison, and Elvin Jones. Coltrane. Impulse!: 215 (A-21), 1962, c1997. Coltrane. deluxe ed. Impulse!: 314 589 567-2 (A-21), 1962, c2002. Includes “Tungi,” “Miles Mode,” “Out of This World,” and others. Dear Old Stockholm. Impulse!: 120, 1963, c1993. Includes “After the Rain.” Live at Birdland. Impulse!: B0010968-02 (A-50), 1963, c2008. Includes “Your Lady,” “The Promise,” “Alabama,” and others. Crescent. Impulse!: B0010969-02 (A-66), 1964, c2008. Includes “Bessie’s Blues,” “Wise One,” “Lonnie’s Lament,” and others.

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A Love Supreme. Impulse!: B0010970-02 (A-77), 1964, c2008. A Love Supreme. deluxe ed. Impulse!: 314 589 945-2 (A-77), 2CD set, 1964, c2002. Includes “Pursuance.” Ascension. Impulse!: B0012402-02 (A-95), 1965, c2009. Includes editions I & II. The Major Works of John Coltrane. Impulse!: GRD2-113, 2CD set, 1965, c1992. Includes “Ascension” - editions I & II (A-95) and “Kulu Se Mama” (A-9106). Meditations. Impulse!: 199 (A-9110), 1965, c1996. Transition. Impulse!: B0015953-02 (A-9195), 1965, c2011. Includes “Dear Lord.” Live in Seattle. Impulse!: GRD2-146 (A-9202-2), 2CD set, 1965, c1994. Sun Ship. Impulse!: B0015952-02 (A-9211), 1965, c2011. Interstellar Space. Impulse!: 314 543 415-2 (A-9277), 1967, c2000. With Rashied Ali; includes “Mars.” Expression. Impulse!: 131 (A-9120), 1967, c1993. Includes “Expression” and “Ogunde.” see CANNONBALL ADDERLEY - Quintet in Chicago see MILES DAVIS - New Quintet, Cookin', Relaxin', Workin', Steamin', Miles Davis & John Coltrane: The Complete Columbia Recordings, 'Round about Midnight, Miles and Coltrane, Milestones, '58 Sessions, and Kind of Blue see THELONIOUS MONK – At Carnegie Hall see ANTHOLOGIES - Ken Burns JAZZ and The Smithsonian Collection of Classic Jazz FOR EXAMPLES OF EARLY COLTRANE SOLOS: see JOHN COLTRANE - The Last Giant (above) see DIZZY GILLESPIE - School Days and Odyssey CHICK COREA, 1941- (Keyboards) Inner Space. Atlantic/Rhino: 305 (Vortex 2004), 1966, c1988. “Tones for Joan's Bones” and “Litha.” Now He Sings, Now He Sobs. Blue Note: 38265 (Solid State 18039), 1968, c2002. With Miroslav Vitous and Roy Haynes: “Matrix,” “Steps-What Was,” “Now He Beats the Drum-Now He Stops,” and “Now He Sings, Now He Sobs.”

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+ The Complete “Is” Sessions. Blue Note: 40532 (Solid State), 2CD set, 1969, c2002. * The Song of Singing. Blue Note: 84353, 1970, c1989. With Dave Holland and Barry Altschul. A.R.C. ECM: 1009, 1971, c2000. With Dave Holland and Barry Altschul: “Nefertiti,” “Ballad for Tillie,” “Thanatos,” “Vendana,” and others. Piano Improvisations. Vol. 1. ECM: 1014, 1971, c2000. Piano Improvisations. Vol. 2. ECM: 1020, 1971, c2000. Solo piano; all tunes written by Corea, except Thelonious Monk's “Trinkle Tinkle” and Wayne Shorter's “Masqualero”; also includes “Song for Lee Lee,” “Song for Sally,” “Song of the Wind,” and “Some Time Ago.” Return to Forever. ECM: 1022, 1971, c1999. With Stanley Clarke, Airto Moreira, Flora Purim, and Joe Farrell; all tunes composed by Corea: “Return to Forever,” “Crystal Silence,” “What Game Shall We Play Today?,” and “Some Time Ago - La Fiesta.” Return to Forever. Light as a Feather. Polydor: 827 148-2 (5525), 1972, c1987. Return to Forever. Light as a Feather [remastered]. Verve: 314 557 115-2 (Polydor 5525), 1972, c1998. With Joe Farrell, Stanley Clarke, Airto, and Flora Purim; includes “Spain.” Return to Forever. Hymn to the Seventh Galaxy. Verve: 825 336-2 (Polydor 5536), 1973, c1991. Return to Forever. Where Have I Known You Before? Polydor: 825 206 (6509), 1974, c1985. With Al DiMeola, Stanley Clarke, Lenny White. Return to Forever. No Mystery. Polydor: 827 149 (6512), 1975, c1989. With Chick Corea (acoustic and electric piano, clavinet, Yamaha organ, synthesizers, snare drum, marimba, and vocal), Al Dimeola (electric and acoustic guitar), Stanley Clarke (acoustic and electric bass, Yamaha organ, synthesizer and vocal), and Lenny White (drums, marimba, conga, and percussion); Spanish "flamenco" and rock are the idioms, not primarily jazz, with little soft material, mostly hard feel: “Dayride” (Clarke), “Jungle Waterfall” (Corea-Clarke), “Flight of the Newborn” (Dimeola), “Excerpt from the Movement of Heavy Metal” (entire band), “No Mystery” (Corea), “Interplay” (Corea-Clarke), “Celebration Suite I and II” (Corea); this recording is cited to illustrate the mixture of acoustic and electric, jazz and rock styles, which typified Corea concerts of the mid-1970's. Trio Music. ECM: 1232, 1981, c2001. Trio Music Live in Europe. ECM: 1310, 1984, c2000. With Miroslav Vitous and Roy Haynes. Chick Corea Elektric Band. GRP: 9535, 1986, c1986.

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CHICK COREA AS SIDEMAN Blue Mitchell: The Thing to Do. Blue Note: 94319 (84178), 1964, c2004. With Chick Corea, Junior Cook, Gene Taylor, Al Foster (basically Horace Silver's band with Corea taking Silver's place); includes some Bud Powell-influenced Corea solos. Herbie Mann: Herbie Mann Plays The Roar of the Greasepaint - The Smell of the Crowd. Collectables: 6829 (Atlantic 1437), 1965, c2001. With Chick Corea, Dave Pike, Patato Valdez, Earl May, and Bruno Carr: “The Joker,” “Feeling Good,” “Who Can I Turn To?,” and “On a Wonderful Day Like Today”; contains good examples of early Corea. This reissue is combined with Herbie Mann, Today! (Atlantic 1454). + Herbie Mann: Standing Ovation at Newport. Wounded Bird: 1445 (Atlantic 1445), 1965, c2000. With Corea, Pike, Valdez, May and Carr; good examples of early Corea. Herbie Mann: Monday Night at the Village Gate. Wounded Bird: 1462 (Atlantic 1462), 1965, c2001. With Corea, Pike, Valdez, May, and Carr; good examples of early Corea. Blue Mitchell: Boss Horn. Blue Note: 63813 (84257), 1966, c2005. With Chick Corea, Julian Priester, Junior Cook, Pepper Adams, Gene Taylor, and Mickey Roker: “Tones for Joan's Bones,” “Straight Up and Down,” etc.; includes some Bud Powell-influenced Corea solos. Note: Both The Thing to Do and Boss Horn were reissued on * The Complete Blue Mitchell Blue Note Sessions (Mosaic: MD4-178, 4CD set, 1963-67, c1998). + Cal Tjader: Soul Burst. Verve: 557 446-2 (V6-8637), 1966, c1998. With Chick Corea, Jerome Richardson, Jerry Dodgion, Seldon Powell, Richard Davis, and Grady Tate; includes some McCoy Tyner-influenced Corea soloing. Stan Getz: Sweet Rain. Verve: B0011226-02 (V6-8693), 1967, c2008. With Corea, Ron Carter, and Grady Tate: “Litha,” “Windows,” and “Con Alma.” see MILES DAVIS - Black Beauty see ANTHOLOGIES - Jazz Piano HANK CRAWFORD, 1934-2009 (Saxophone) Mr. Blues Plays Lady Soul. Collectables: 6244 (Atlantic 1523), 1969, c1999. + Soul Survivors. Milestone: 9142, 1986, c1986. CRUSADERS The Best of the Jazz Crusaders: The Pacific Jazz Years. Blue Note: 89283, 1961-66, c1993.

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Southern Comfort. MCA: 6016 (Blue Thumb 9002), 1974, c1997. Street Life. Blue Thumb: 701 (MCA 3008), 1979, c1996. All with Joe Sample and Wilton Felder. MILES DAVIS, 1926-1991 (Trumpet) Ken Burns JAZZ Collection: Miles Davis. Sony/Legacy: 61443 (Savoy/Capitol/Prestige/Columbia/Warner Bros.), 1947-86, c2000. Birth of the Cool. Capitol: 30117 (T 762), 1949-50, c2001. The Complete Birth of the Cool. Capitol Jazz: 94550, 1948-50, c1998. Sessions arranged by Johnny Carisi, John Lewis, Miles Davis, Gerry Mulligan, and Gil Evans; with soloists Davis, Mulligan, and Lee Konitz: “Jeru,” “Boplicity,” “Budo,” “Moon Dreams,” and others; instrumentation consists of trumpet, alto sax, baritone sax, trombone, French horn, tuba, piano, bass, and drums; often called the Miles Davis Nonet. Chronicle: The Complete Prestige Recordings. Prestige: 012, 8CD set, 1951-56, c1987. Dig. OJC/Concord: 32327 (Prestige 7012), 1951, c2010. With Sonny Rollins, Jackie McLean, Walter Bishop, Jr., Tommy Potter, and Art Blakey: George Shearing's “Conception,” McLean's “Dig” (also called “Donna,” based on the chord progressions of “Sweet Georgia Brown”), “Denial” (based on the chord changes of Charlie Parker's “Confirmation”), “Bluing,” “Out of the Blue,” and “It's Only a Paper Moon.” Collector's Items. Prestige: 24022 (P-7044), 1953, 1956, c2007. With Sonny Rollins, Tommy Flanagan, Paul Chambers, and Art Taylor (1956): Dave Brubeck's “In Your Own Sweet Way” and Davis's “Vierd Blues” and “No Line”; also a session with Sonny Rollins, Charlie Parker (playing tenor and identified as Charlie Chan), Walter Bishop, Jr., Percy Heath, and Philly Joe Jones (1953): “Compulsion,” “'Round Midnight,” and two takes of “The Serpent's Tooth.” Walkin'. Prestige/Concord: 30008 (P-7076), 1954, c2006. With Horace Silver, J. J. Johnson, Kenny Clarke, and others. Bag's Groove. Prestige: 30645 (P-7109), 1954, c2008. With Milt Jackson, Thelonious Monk, Percy Heath, and Kenny Clarke: “Bags' Groove”; also a session with Sonny Rollins, Horace Silver, Percy Heath, and Kenny Clarke, including the Rollins compositions: “Oleo,” “Doxy,” and “Airegin,” and “But Not for Me” (Gershwin). Miles Davis and the Modern Jazz Giants. Prestige: 30655 (P-7150), 1954, c2008. With Jackson, Monk, Heath, and Clarke: “The Man I Love,” “Swing Spring,” and “Bemsha Swing.” The New Miles Davis Quintet. Prestige: 31343 (P-7014), 1955, c2009. With John Coltrane, Red Garland, Paul Chambers, and Philly Jo Jones.

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The Legendary Prestige Quintet Sessions. Prestige: PRCD4-4444-2, 4CD set, 1955-56, c2006. Cookin'. Prestige: 30157 (P-7094), 1956, c2007. Relaxin'. Prestige: 8104 (P-7129), 1956, c2006. Workin'. Prestige: 30080 (P-7166), 1956, c2006. Steamin'. Prestige: 30167 (P-7200), 1956, c2007. With Coltrane, Garland, Chambers, and Jones: “Oleo,” “If I Were a Bell,” “You're My Everything,” “I Could Write a Book,” “It Could Happen to You,” “Woody 'n' You,” “My Funny Valentine,” “Blues by Five,” “Airegin,” “Tune Up,” “When Lights Are Low,” “It Never Entered My Mind,” “Four,” “In Your Own Sweet Way,” “The Theme” (two takes), “Trane's Blues,” “Ahmad's Blues,” and “Half Nelson.” Miles Davis & John Coltrane: The Complete Columbia Recordings 1955-1961. Columbia/Legacy: 90922, 6CD set, 1955-61, c2004. 'Round About Midnight. Columbia/Legacy: 85201 (CL 949), 1955-56, c2001. * Miles and Coltrane. Columbia: 44052, 1955, 1958, c1988. “Budo” (1955); also includes 1958 Newport performance with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb. Miles Davis/Gil Evans: The Complete Columbia Studio Recordings. Columbia/Legacy: 90923, 6CD set, 1957-68, c2004. Includes all of Miles Ahead, Porgy and Bess, Sketches of Spain, plus additional material. Miles Ahead. Columbia/Legacy: 65121 (CL1041), 1957, c1997. Gil Evans arrangements; includes Dave Brubeck’s “The Duke.” Milestones. Columbia/Legacy: 85203 (CL1193), 1958, c2001. Includes “Two Bass Hit” and “Billy Boy.” Porgy and Bess. Columbia/Legacy: 65141 (CL1274), 1958, c1997. Gil Evans arrangements; includes “Summertime” and “Fishermen, Strawberry and Devil Crab.” + '58 Sessions. Columbia: 47835, 1958, c1991. Studio and live sessions with Coltrane, Adderley, Bill Evans, Chambers, and Cobb; includes “On Green Dolphin Street.” Kind of Blue. Columbia/Legacy: 64935 (CS8163/CL1355), 1959, c1997. Includes “Freddie the Freeloader,” “So What,” “Blue in Green,” and “Flamenco Sketches.” Sketches of Spain. Columbia/Legacy: 65142 (CS8271/CL1480), 1959-60, c1997. Gil Evans arrangements; includes “Concerto de Aranjuez (Adagio),” “Solea,” “Saeta,” “The Pan Piper,” and “Will o’ the Wisp.”

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Someday My Prince Will Come. Columbia/Legacy: 65919 (CS8456/CL1656), 1961, c1999. Sbme Special Mkts. + In Person Friday and Saturday Nights at the Blackhawk, Complete. Columbia/Legacy: C4K 87106 (CL1669/1670), 4CD set, 1961, c2003. Saturday Night at the Blackhawk. Columbia/Legacy: 87100 (CL1670), 1961, c2003. Miles Davis at Carnegie Hall: The Complete Concert. Columbia/Legacy: C2K 65027 (CS8612/CL1812), 2CD set, 1961, c1998. Seven Steps: The Complete Columbia Recordings of Miles Davis 1963-1964. Columbia/Legacy: 90840, 7CD set, 1963-64, c2004. Includes Seven Steps to Heaven, In Europe, My Funny Valentine, Four and More, Miles in Tokyo, and Miles in Berlin. Seven Steps to Heaven. Columbia/Legacy: 93592 (CS8851/CL2051), 1963, c2005. Includes “I Fall in Love Too Easily.” Sbme Special Mkts. + In Europe. Columbia/Legacy: 93583 (CS 8983/CL2183), 1963, c2005. My Funny Valentine. Columbia/Legacy: 93593 (CS9106/CL2306), 1964, c2005. Concert; includes “My Funny Valentine,” “Stella by Starlight,” and “All of You.” Four and More. Columbia/Legacy: 93595 (CS9253/CL2453), 1964, c2005. Miles in Tokyo. Columbia/Legacy: 93596, 1964, c2005. Sbme Special Mkts. Concert with Sam Rivers, Herbie Hancock, Ron Carter, and Tony Williams. Miles in Berlin. Columbia/Legacy: 93594, 1964, c2005. Concert with Wayne Shorter, Hancock, Carter, and Williams. Miles Davis Quintet 1965-1968: The Complete Columbia Studio Recordings. Columbia/Legacy: 90925, 6CD set, 1965-68, c2004. With Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams; includes all of E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, part of Filles de Kilimanjaro, plus additional material. E.S.P. Columbia/Legacy: 65683 (CS9150/CL2350), 1965, c1998. Includes “E.S.P.,” “Agitation,” “Little One,” “R.J.,” “Eighty-One,” “Mood,” and “Iris.” * The Complete Live at the Plugged Nickel. Columbia/Legacy: CXK 66955, 6CD set, 1965, c1995. Miles Smiles. Columbia/Legacy: 65682 (CS9401/CL2601), 1966, c1998. Includes “Orbits,” “Freedom Jazz Dance,” “Circle,” “Footprints,” “Dolores,” and “Gingerbread Boy.”

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Sorcerer. Columbia/Legacy: 65680 (CS9532/CL2732), 1967, c1998. Sbme Special Mkts. Includes “The Sorcerer,” “Limbo,” “Prince of Darkness,” “Masqualero,” “Vonetta,” and “Pee Wee.” Nefertiti. Columbia/Legacy: 65681 (CS9594), 1967, c1998. Includes “Nefertiti,” “Madness,” “Riot,” “Fall”, and “Hand Jive.” Miles Davis Quintet: Live in Europe 1967. Columbia: 94053, 3CD + DVD set, 1967, c2011. Miles in the Sky. Columbia/Legacy: 65684 (CS9628), 1968, c1998. Sbme Special Mkts. Includes “Country Son.” Filles de Kilimanjaro. Columbia/Legacy: 86555 (CS9750), 1968, c2002. Sbme. Includes “Filles de Kilimanjaro,” “Felon Brun,” and “Tout de Suite.” The Complete In a Silent Way Sessions. Columbia/Legacy: 90921 (CS9875), 3CD set, 1968-69, c2004. In a Silent Way. Columbia/Legacy: 86556 (CS9875), 1969, c2002. The Complete Bitches Brew Sessions. Columbia/Legacy: 90924, 4CD set, 1969-70, c2004. Bitches Brew. Columbia/Legacy: 54519 (GP 26), 2CD + 1DVD set, 1969, c2010. Includes “Bitches Brew” and “Pharaoh’s Dance.” The Complete Jack Johnson Sessions. Columbia/Legacy: 86359, 5CD set, 1970, c2003. + A Tribute to Jack Johnson. Columbia: 93599 (30455), 1970, c2005. It’s About That Time: Live at the Fillmore East (March 7, 1970). Columbia/Legacy: C2K 85191, 2CD set, 1970, c2001. + Black Beauty: Miles Davis at the Fillmore West. Columbia/Legacy: C2K 65138 (CBS/Sony: SOPJ 39-40), 2CD set, 1970, c1997. Live with Steve Grossman, Chick Corea, Dave Holland, Jack DeJohnette, and Airto Moreira. Note: In the author's opinion, this set is superior to Big Fun, At the Fillmore, In Concert, Jack Johnson, On the Corner, and Get Up with It. It provides the only recorded examples of extended improvisation by Chick Corea while he was with Davis, and might be the most exciting recorded playing of Corea's career. The concert was one of those nights when everything seemed to fall into place and forge ahead with blistering intensity. + At Fillmore: Live at the Fillmore East. Columbia/Legacy: C2K 65139 (CG 30038), 2CD set, 1970, c1997. Live-Evil. Columbia/Legacy: C2K 65135 (G 30954), 2CD set, 1970, c1997. Includes “Sivad,” “Selim,” and “Little Church.” Big Fun. Columbia/Legacy: C2K 63973 (PG 32866), 2CD set, 1969-72, c2000. Includes “Great Expectations.”

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The Cellar Door Sessions 1970. Columbia/Legacy: 93614, 6CD set, 1970, c2005. On the Corner. Columbia/Legacy: 63980 (PC 31906), 1972, c2000. + In Concert: Live at Philharmonic Hall. Columbia/Legacy: C2K 65140 (PG 32092), 2CD set, 1972, c1997. Get Up with It. Columbia/Legacy: C2K 63970 (PG 33236), 2CD set, 1970-74, c2000. Agharta. Columbia/Legacy: C2K 46799 (PG 33967), 2CD set, 1975, c1991. Pangaea. Columbia: C2K 46115 (CBS/Sony: 50DP 239-40), 2CD set, 1975, c1990. doo-bop. Warner Bros.: 26938, 1991, c1992. see CHARLIE PARKER - Savoy and Dial recordings see ANTHOLOGIES - Bebop, The Birth of the Third Stream, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz PAUL DESMOND, 1924-1977 (Alto Sax) + The Best of the Complete RCA Victor Recordings. RCA: 3634, 1961-65, c2000 + The Complete RCA Victor Recordings. RCA Victor: 68687, 5CD set, 1961-65, c1997. Desmond Blue. RCA Bluebird: 63898 (LSP 2438), 1961-62, c2002. Sbme. With strings; Jim Hall on some selections. Two of a Mind: Paul Desmond and Gerry Mulligan. Victor Jazz: 64019 (LSP 2624), 1962, c2003. Sbme. see DAVE BRUBECK – Ken Burns JAZZ, Dave Brubeck Octet, Jazz at Oberlin, Gone with the Wind, and Time Out

DAVE DOUGLAS, 1963- (Trumpet) Parallel Worlds. Soul Note: 121 226, 1993, c1993. The Tiny Bell Trio. Songlines: 1504, 1993, c1994. Tiny Bell Trio: Constellations. hatOLOGY: 666 (6173), 1995, c2009. * Tiny Bell Trio Live in Europe. Arabesque Jazz: 0126, 1996, c1997. + Witness. RCA Bluebird: 63763, 2000, c2001. + The Infinite. RCA Bluebird: 63918, 2001, c2002.

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see JOHN ZORN - Masada PAQUITO D’RIVERA, 1948- (Saxophone/Clarinet) + The Best of Paquito D’Rivera. Columbia/Legacy: 85342, 1981-87, c2002. Paquito D’Rivera/Arturo Sandoval: Reunion. Pimienta/Universal: 245 360 610 (Messidor 15805), 1990, c2004. Paquito D’Rivera Presents 40 Years of Cuban Jam Session. Pimienta/Universal: 245 360 632 (Messidor 15826), 1993, c2004. see IRAKERE - Best of… ROY ELDRIDGE, 1911-1989 (Trumpet) Little Jazz Trumpet Giant. Proper: BOX 69 (Vocalion/Brunswick/Decca, etc.), 4CD set, 1935-53, c2004. * Little Jazz. Jazz Archives/EPM: 158362 (Vocalion/Brunswick/Decca), 1935-44, c1995. Includes Teddy Hill and Fletcher Henderson selections and the following selections listed below: “Wabash Stomp,” “Florida Stomp,” “Heckler’s Stomp,” “After You’ve Gone” (2 versions), “Let Me Off Uptown,” “Rockin’ Chair,” “That Drummer’s Band,” “The Gasser,” and “I Can’t Get Started.” * Little Jazz. Columbia: 45275 (Vocalion), 1935-1940, c1989. Includes a selection with Teddy Hill (1935); four selections with Fletcher Henderson (1936); four selections with Teddy Wilson (1936) including “Blues in C# Minor”; and a Eldridge band date (1937): “Wabash Stomp,” “Florida Stomp,” “Heckler's Hop,” “After You've Gone,” and others. + Roy Eldridge with the Gene Krupa Orchestra: Uptown. Columbia: 45448, 1940-49, c1990. With Gene Krupa Orchestra and Anita O'Day (1940-42): “Green Eyes,” “Let Me Off Uptown,” “After You've Gone,” “Rockin' Chair,” “Harlem On Parade,” “The Marines' Hymn,” “That Drummer's Band,” “Massachusetts,” “Murder, He Says,” and others. + After You've Gone. Decca Jazz/GRP: 605 (Brunswick/Decca), 1943-46, c1991. Includes “The Gasser” (1943); “After You've Gone,” “I Can't Get Started” (1944); “All the Cats Join In,” “Hi Ho Trailus Boot Whip,” “Yard Dog,” and “Rockin' Chair” (1946). see COLEMAN HAWKINS - Tenor Giants see BILLIE HOLIDAY – Lady Day see ANTHOLOGIES - Anthology of Big Band Swing, The 1930's-The Small Combos and The Smithsonian Collection of Classic Jazz

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DUKE ELLINGTON, 1899-1974 (Piano, Big Band) Ken Burns JAZZ Collection: Duke Ellington. Sony/Legacy: 61444, 1927-60, c2000. Sbme Special Mkts. * The Duke Ellington Centenial Edition: The Complete RCA Victor Recordings. RCA: 63386, 24CD set, 1927-73, c1999. * Beyond Category: The Musical Genius of Duke Ellington. Buddah: 99362 (RCA 49000), 2CD set, 1927-67, c1999. The Essential Duke Ellington. Columbia/Legacy: C2K 89281, 2CD set, 1927-60, c2005. Mrs. Clinkscales to the Cotton Club: Vol. 1. JSP: 924 (Brunswick, Vocalion, OKeh, Victor), 4CD set, 1926-29, c2005. * Early Ellington. RCA Bluebird: 6852 (Victor), 1927-34, c1989. Includes “Creole Love Call” with Bubber Miley, “East St. Louis Toodle-oo,” “Black and Tan Fantasy,” “Mood Indigo,” “Creole Rhapsody,” and an early example of piano comping (first chorus of Hodges's alto solo on “The Mooche”). * Jungle Nights in Harlem. RCA Bluebird: 2499 (Victor), 1927-32, c1991. + Jubilee Stomp. RCA Bluebird: 66038 (Victor), 1928-34, c1992. + Early Ellington: The Complete Brunswick and Vocalion Recordings of Duke Ellington. Decca Jazz/GRP: GRD-3-640, 3CD set, 1926-31, c1994. + The Best of Early Ellington. Decca Jazz/GRP: 660, 1926-31, c1996. Includes “Black and Tan Fantasy,” “Mood Indigo,” and “Creole Rhapsody.” The Cotton Club to Sweden, Vol. 2. JSP: 936 (Victor, Brunswick, Columbia), 4CD set, 1929-40, c2007. * The Duke. Columbia/Legacy: 92684 (65841), 3CD set, 1927-61, c2004. Includes “East St. Louis Toodle-oo,” “Black and Tan Fantasy” (1927), “The Mooche” (1928), “It Don’t Mean a Thing If It Ain’t Got That Swing” (1932), “Caravan” (1937), “Prelude to a Kiss” (1938), “Sophisticated Lady” (1940), “Golden Cress,” “Sultry Serenade,” “On a Turquoise Cloud” (1947), “Take the A Train” (1951), “The Star-Crossed Lovers” (1956), and others. The Okeh Ellington. Columbia: C2K 46177, 2CD set, 1927-30, c1991. Includes “East St. Louis Toodle-oo,” “Black and Tan Fantasy,” “The Mooche,” “Mood Indigo,” and “Rockin' in Rhythm.” The Complete 1932-1940 Brunswick, Columbia and Master Recordings of Duke Ellington and His Famous Orchestra. Mosaic: MD11-248, 11CD set, 1932-40, c2010. (mail order - see page 122.)

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+ Reminiscing in Tempo. Columbia/Legacy: 48654, 1928-60, c1991. Includes “The Mooche” (1928), “Rockin’ in Rhythm” (1931), “It Don't Mean a Thing If It Ain't Got That Swing” (1932), “Reminiscing in Tempo” (1935), and “On a Turquoise Cloud” (1947). * Braggin' in Brass. Portrait/CBS: 44395 (Brunswick), 2CD set, 1938, c1989. The Complete 1936-1940 Variety, Vocalion and Okeh Small Group Sessions. Mosaic: MD7-235, 7C set, 1936-40, c2007. (mail order - see page 000) + The Duke's Men: Small Groups. Vol. 1. Columbia/Legacy: C2K 46995, 2CD set, 1934-38, c1991. + The Duke's Men: Small Groups. Vol. 2. Columbia/Legacy: C2K 48835. 2CD set, 1938-40, c1993. Groups led by Johnny Hodges, Rex Stewart, Cootie Williams, and Barney Bigard; Vol. 2 includes “Jeep’s Blues” and “Empty Ballroom Blues” which show the Sidney Bechet influence on Johnny Hodges. All are also on the Mosaic set. + Solos, Duets and Trios. RCA Bluebird: 2178-2 (Victor), 1932-1967, c1990. Includes 1940 duets with bassist Jimmy Blanton: “Mr. J.B. Blues” and “Pitter Panther Patter.”. * Duke Ellington: 1938. Smithsonian: 2003, 2LP set, 1938, c1976. * Duke Ellington: 1939. Smithsonian: 2010, 2LP set, 1939, c1977. * Duke Ellington: 1940. Smithsonian: 2013, 2LP set, 1940, c1978. * Duke Ellington: 1941. Smithsonian: 2027, 2LP set, 1941, c1981. + Never No Lament: The Blanton-Webster Band. RCA Bluebird: 50857 (Victor), 3CD set, 1940-42, c2003. Probably Ellington's best band: Johnny Hodges, Cootie Williams, Joe Nanton, Ben Webster, Jimmy Blanton, and others; includes “Jack the Bear,” “Conga Brava,” “Concerto for Cootie,” “Cottontail,” “Never No Lament (Do Nothing Til You Here from Me),” “A Portrait of Bert Williams,” “Harlem Air Shaft,” “All Too Soon,” “Sepia Panorama,” “In a Mellotone,” “Warm Valley,” “The Flaming Sword,” “Take the ‘A’ Train,” “Blue Serge,” “Bakiff,” “Chelsea Bridge,” “Raincheck,” “I Don’t Know What Kind of Blues I Got,” “Perdido,” “Main Stem,” and the 1940 Ellington-Blanton duets: “Mr. J.B. Blues” and “Pitter Panther Patter.” + The Complete RCA Victor Mid-Forties Recordings. RCA Victor: 63394 (6641), 3CD set, 1944-46, c1999. Includes Mercer Ellington's “Things Ain't What They Used to Be” with solos by Johnny Hodges, Lawrence Brown, and Taft Jordan; a 1945 version of “Mood Indigo” with a wordless vocal; the “Perfume Suite,” “Blue Cellophane”, “Transblucency,” “Black, Brown and Beige,” “I’m Beginning to See the Light,” and others. + The Best of the Complete RCA Victor Recordings, 1944-1946. RCA Bluebird: 63462, 1944-46, c2000. Includes “Things Ain't What They Used to Be,” “Transblucency,” and “I'm Beginning to See the Light.” * Happy-Go-Luck Local. Musicraft: 52, 1946, c1992.

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Includes a version of the “Deep South Suite” and “Golden Cress.” * 1946. Classics: 1015 (Victor/Musicraft), 1946, c1998. Includes a version of the “Deep South Suite.” * 1946-1947. Classics: 1051 (Musicraft/Columbia), 1946-47, c1999. Big band with Lawrence Brown, Tyree Glenn, Ray Nance, Shorty Baker, Dud Bascomb, Jimmy Hamilton, Johnny Hodges, and Oscar Pettiford; includes “Golden Cress” (featuring Lawrence Brown). + 1947. Classics: 1086 (Columbia), 1947, c1999. Includes “Boogie Bop Blues” (which has some great bass work) and “Sultry Serenade” (with solos by Tyree Glenn and Hodges). * 1947-1948. Classics: 1119 (Columbia), 1947-48, c2000. Includes “On a Turquoise Cloud” (with a wordless vocal, clarinet and muted trumpet, violin, and bass clarinet). (Note: All Classics label items are imports.) Ellington Uptown. Columbia/Legacy: 87066 (CL 830), 1947, 1951-52, c2004. Sbme Big band featuring Russell Procope and Jimmy Hamilton (“The Mooche”), Paul Gonsalves (“Take the 'A' Train”), and Louis Bellson (“Skin Deep”); also includes the “Liberian Suite” (1947). * The Complete Capitol Recordings of Duke Ellington. Mosaic: MD5-160, 5CD set, 1953-55, c1995. Includes all of Ellington Showcase. * Ellington Showcase. Capitol: T 679, LP, 1953-55, c[1956]. Big band including a feature for Harry Carney (“Serious Serenade”), a feature for Cat Anderson (“La Virgen de la Macarena”), and a new version of “Harlem Airshaft” (with Clark Terry soloing in the spots where Cootie Williams and Barney Bigard had soloed, Quentin Jackson taking what had been Tricky Sam Nanton's part on the original 1940 version, and other interesting differences that help cast light on the original). * The Best of Duke Ellington. Capitol Jazz: 31501, 1953-55, c1995. Includes “Serious Serenade,” “Harlem Airshaft,” and others. * Historically Speaking - The Duke. Avenue Jazz: 74315 (Bethlehem 60), 1956, c2001. Big band featuring Jimmy Hamilton, Ray Nance, Johnny Hodges, Quentin Jackson, and Britt Woodman; the first includes a violin feature for Ray Nance (“Lonesome Lullaby”) and two Billy Strayhorn pieces (“Midriff” and “Upper Manhattan Medical Group” - mistakenly credited to Ellington). Duke Ellington Presents.... Shout Factory: 37470 (Bethlehem 6005), 1956, c2005. Contains the Harry Carney feature, “Frustration.” Ellington at Newport: The Complete Concert. Columbia/Legacy: C2K 64932 (CL 934), 2CD set, 1956, c1999.

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+ A Drum Is a Woman. Columbia: CL 951, LP, 1956, c1957. *Duke 56/62. Vol. 1. CBS/France: 88653, 2LP set, 1956-62, c1984. Includes “Cop Out” (1957) featuring Paul Gonsalves. Such Sweet Thunder. Columbia/Legacy: 65568 (CL 1033), 1956-57, c1999. Sbme + Ellington Indigos. Columbia: 44444 (CS 8053/CL 1085), 1957, c1989. Big band featuring Hodges, Gonsalves, Hamilton, and Harold Shorty Baker; high points are the Hodges solo on “Prelude to a Kiss,” the Gonsalves solo on “Where or When,” and the Baker solo on “Willow Weep for Me.” Note: The music on the mono copy (CL 1085) of this album is not identical to that on the stereo copy (CS 8053); several different improvisations and a few alterations in ensemble playing occur. The mono copy also contains an entire tune not on the stereo copy, although it is mistakenly listed on the stereo copy's album jacket. That tune, “The Sky Fell Down,” is one of the prettiest Ellington compositions on the mono album, and it contains a gorgeous Ray Nance trumpet solo. The reissue (44444) has a previously unissued “All the Things You Are” and an alternate take of “Autumn Leaves” but not “The Sky Fell Down.” The Cosmic Scene. Mosaic: MCD-1001 (Columbia CL 1198), 1958, c2006. (mail order) Recording with abbreviated instrumentation: Hamilton, Gonsalves, and Terry plus three trombones, piano, bass, and drums. * Duke Ellington and His Orchestra Live at Newport 1958. Columbia/Legacy: C2K 53584 (CS 8072/CL 1245), 2CD set, 1958, c1994. Featuring Clark Terry, Jimmy Hamilton, Paul Gonsalves, Ray Nance, Harry Carney, Gerry Mulligan, and others. Duke’s Mixture/ At the Bal Masque. Collectables: 7856 (Columbia CS 8098/CL 1282), 1958, c2007. + Anatomy of a Murder [soundtrack]. Columbia/Legacy: 65569 (CL 1630), 1959, c1999. + Festival Session. Columbia/Legacy: 87044 (CL 1400), 1959, c2004. Big band with Gonsalves, Terry, Hamilton, Hodges, Russell Procope, and Nance: “Idiom '59,” “Launching Pad,” and others. The Ellington Suites. Fantasy: OJC-446 (Pablo 2310-762), 1959, 1971-72, c1990. Includes “Queen's Suite,” “Goutelas Suite,” and the “UWIS Suite.” Three Suites. Columbia: 46825 (CS 8397), 1960, c1990. Includes “Suite Thursday.”

Sbme Special Mkts.

Paris Blues [soundtrack]. Jazz Sound Track: 248137 (United Artists 4092), 1960, c2011. (import)

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Duke Ellington's Concert of Sacred Music. Status: 1015 c1997. (import)

(RCA

LSP-3582),

1965,

The Far East Suite. RCA Bluebird: 55614 (LSP-3782), 1966, c2003. Second Sacred Concert. Prestige: 24045 (Fantasy 8407/8), 1968, c1990. Latin American Suite. Fantasy: OJC-469 (8419), 1968, c1990. Afro-Eurasian Eclipse. Fantasy: OJC-645 (9498), 1971, c1991. Togo Brava Suite. Blue Note: 30082 (United Artists UAL 273/4), 1971, c1994. * Duke Ellington's Third Sacred Concert. RCA: APL1-0785, LP, 1973, c1975. see ANTHOLOGIES - Anthology of Big Band Swing, Big Band Jazz, Big Band Renaissance, The Greatest Jazz Concert in the World, Jazz Piano, Jive at Five, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz BILL EVANS, 1929-1980 (Piano) Bill Evans: The Complete Riverside Recordings. Riverside: 018, 12CD set, 1956-63, c1987. New Jazz Conceptions. Fantasy: OJC-025 (Riverside R-223), 1956, c1987. With Teddy Kotick and Paul Motian: “I Love You,” “Five,” “Easy Living,” “Displacement,” “Conception,” “Speak Low,” “Our Delight,” “My Romance,” and “I Got It Bad.” Everybody Digs Bill Evans. Riverside: 30182 (1129), 1958, c2007. With Sam Jones and Philly Joe Jones: “Peace Piece,” “Young and Foolish,” “What Is There to Say?,” “Oleo,” and others; Evans considered this to be among his very best playing on record. Portrait in Jazz. Riverside: 30678 (315), 1959, c2008. Includes “Autumn Leaves,” and “Peri’s Scope.” Explorations. Riverside: 32842 (351), 1961, c2011. With Scott LaFaro and Paul Motian; includes “Nardis.”. The Complete Village Vanguard Recordings, 1961. Riverside: 3RCD-4443, 3CD set, 1961, c2005. At the Village Vanguard. Riverside: FCD-60-017, 1961, c1986; or Sunday at the Village Vanguard. Riverside: 30509 (RLP-9376), 1961, c2008; and Waltz for Debby. Riverside: 32326 (RLP-9399), 1961, c2010. With LaFaro and Motian: “My Foolish Heart,” “Waltz for Debby,” “Alice in Wonderland,” “Gloria's Step,” “Milestones,” “Solar,” “All of You,” and others. Undercurrent. Blue Note: 38228 (UA 14003), 1962, c2002. Duets with Jim Hall.

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Intermodulation. Verve: 833 771-2 (V6-8655), 1966, c1988. Duets with Jim Hall. see MILES DAVIS - Miles Davis & John Coltrane: The Complete Columbia Recordings, Miles and Coltrane, '58 Sessions, and Kind of Blue see OLIVER NELSON - Blues and the Abstract Truth see ANTHOLOGIES - The Birth of the Third Stream, Jazz Piano, and The Smithsonian Collection of Classic Jazz (revised) BILL EVANS AS AN INFLUENCE * Piano Jazz in Czechoslovakia. Supraphon: SUA ST 55991, LP, c1968. Czech import anthology; the Jan Hammer Trio selections, “Responsibility” and “Autumn Leaves,” display Evans influence. Jan Hammer. The First Seven Days. Columbia/Legacy: 85401 (Nemperor 432), 1975, c2003. Sbme Special Mkts. “Light/Sun” and “Fourth Day” display Bill Evans influence. GIL EVANS, 1912-1988 (Composer/Arranger) see MILES DAVIS - The Birth of the Cool, Miles Davis/Gil Evans: The Complete Columbia Studio Recordings, Miles Ahead, Porgy and Bess, and Sketches of Spain see CLAUDE THORNHILL - Claude Thornhill and His Orchestra Play the Great Jazz Arrangements of Gil Evans, Gerry Mulligan, and Ralph Aldrich and Best of the Big Bands see ANTHOLOGIES - The Bebop Era, Big Band Jazz, Big Band Renaissance, and Jazz in Revolution ELLA FITZGERALD, 1918-1996 (Jazz Singer) Ken Burns JAZZ Collection: Ella Fitzgerald. Verve: 549 087-2 (Decca/Verve), 1936-63, c2000. The Best of Ella Fitzgerald. Decca Jazz/GRP: 659, 1935-55, c1996. Includes “A-Tisket A-Tasket,” “How High the Moon,” and others. Ella Fitzgerald Sings the Cole Porter Song Book. Verve: 314 537 257-2 (4001-2), 2CD set, 1956, c1997. Ella Fitzgerald Sings the Rodgers & Hart Song Book. Verve: 314 537 258-2 (4002-2), 2CD set, 1956, c1997. + Ella Fitzgerald Sings the George & Ira Gershwin Song Book. Verve: 314 539 759-2 (4029-5), 4CD set, 1959, c1998. Ella Fitzgerald at the Opera House. Verve: 831 269-2 (MGV 8264), 1957, c1986. Includes “Lady Be Good.”

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The Complete Ella in Berlin: Mack the Knife. Verve: 314 519 564-2 (MGV 4041), 1960, c1993. Includes “Mack the Knife” and “How High the Moon.” Clap Hands, Here Comes Charlie! Verve: 422 835 646-2 (MGV 4053), 1961, c1989. Includes “Spring Can Really Hang You Up the Most” and “Cry Me a River.” see CHARLIE PARKER - Charlie Parker: Jazz at the Philharmonic 1949 CHARLES GAYLE, 1939- (Tenor Sax/Piano) Consecration. Black Saint: 120 138-2, 1993, c1993. Kingdom Come. Knitting Factory: 157, c1994. STAN GETZ, 1927-1991 (Tenor Sax) The Complete Savoy Recordings. Savoy Jazz: 17121 (12114), 1946-47, c2002. Includes “Opus de Bop,” “And the Angels Swing,” “Running Water,” and “Don't Worry About Me.” Quartets. Fantasy: OJC-121 (Prestige 7002), 1949-50, c1991. With Al Haig: “There's a Small Hotel,” “Indian Summer,” and others. + The Complete Roost Recordings. Roost/Blue Note: 59622, 3CD set, 1950-54, c1997. With Al Haig, Horace Silver, Jimmy Raney, and Roy Haynes; also includes “Moonlight in Vermont” (1952) with guitarist Johnny Smith. * Best of the Roost Years. Blue Note: 98144, 1950-52, c1991. * The Roost Quartets. Roulette Jazz: 96052, 1950-51, c1991. With Al Haig, Horace Silver, Tommy Potter, and Roy Haynes. * At Storyville. Roulette: 94507 (Roost), 1951, c1990. With Jimmy Raney, Al Haig: “Rubber Neck,” “Mosquito Knees,” “Hershey Bar,” and others. + West Coast Jazz. Verve: 314 557 549-2 (Norgran 1032), 1955, c1999. + Best of the West Coast Sessions. Verve: 314 537 084-2, 1955-57, c1997. Stan Getz and J.J. Johnson at the Opera House. Verve: 831 272-2 (MGV-8265), 1957, c1986. Live concert recording by Stan Getz, J.J. Johnson, Oscar Peterson, Herb Ellis, Ray Brown, and Connie Kay: “Billie's Bounce,” “My Funny Valentine,” “Crazy Rhythm,” “Yesterdays,” “It Never Entered My Mind,” and “Blues in the Closet”; note that the original stereo version (Verve 68490) was not the same music as in the mono version (V6-8265); the CD reissue includes both stereo and mono versions.

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Focus. Verve: 314 521 419-2 (V6-8412), 1961, c1997. Eddie Sauter string arrangements; Getz improvises with no preset melody or chord progressions, using only the string parts as his guide. Jazz Samba. Verve: 314 521 413-2 (MGV-8432), 1962, c1997. With Charlie Byrd: “Desafinado.” Getz/Gilberto. Verve: 314 521 414-2 (V6-8545), 1963, c1997. With Antonio Carlos Jobim, Joao and Astrud Gilberto: “Girl from Ipanema,” “Desafinado,” and others. see ANTHOLOGIES - The Bebop Era DIZZY GILLESPIE, 1917-1993 (Trumpet) Ken Burns JAZZ Collection: Dizzy Gillespie. Verve: 549 086-2, 1940-67, c2000. * The Development of an American Artist. Smithsonian: 2004, 2LP set, 1940-46, c1976. Gillespie with his own groups and the bands of Les Hite, Cab Calloway, Coleman Hawkins, Billy Eckstine, Boyd Raeburn, and others; includes “I Can’t Get Started” (1945). + Odyssey 1945-1952. Savoy Jazz: 17109 (Musicraft/Savoy), 3CD set, 1945-52, c2002. Groovin’ High. Savoy: 0152 (Guild/Musicraft), 1945-46, c1992. Groovin’ High: Classic Recordings. Naxos Jazz: 8.120582, 1942-49, c2002. Shaw ‘Nuff. Collectables: 7729 (Musicraft), 1945-46, c2006. Combos with Charlie Parker, Al Haig, Curly Russell and Sid Catlett (1945): “Salt Peanuts,” “Hot House,” “All the Things You Are,” “Groovin’ High,” “Shaw ‘Nuff,” and “Blue ‘n’ Boogie”; big band (1946): “Things to Come” and “Emanon.” Odyssey also contains all recordings from School Days (below). Dizzy Gillespie, Charlie Parker: Town Hall, New York City, June 22, 1945. Uptown: 27.51, 1945, c2005. The Complete RCA Victor Recordings. RCA Bluebird: 66528, 2CD set, 1937-1949, c1995. Combo with Don Byas, Bill DeArango, Milt Jackson, Al Haig, Ray Brown, and J.C. Heard (1946): “Anthropology,” “52nd St. Theme,” “Ol' Man Rebop,” and “Night in Tunisia”; big band dates (1947-49) include the Gillespie-George Russell collaboration “Cubano Be - Cubano Bop,” Gillespie's “Manteca” (both featuring conga drummer Chano Pozo), Tadd Dameron's “Good Bait,” John Lewis’s “Two Bass Hit,” Gillespie’s “Woody’n You (Algo Bueno),” and others. Night in Tunisia: The Very Best of…. RCA Bluebird: 84866, 1944-49, c2006. Includes most of the above titles. + School Days. Savoy Jazz: 17256 (Regent 6043), 1947, 1951-52, c2003. Includes “We Love to Boogie” (1951) which contains an early example of John Coltrane's solo style (included here only as an example of Coltrane).

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Duets. Verve: 835 253-2 (MGV-8260), 1957, c1988. With Sonny Stitt and Sonny Rollins; includes a version of Gillespie’s “Con Alma.” Sonny Side Up. Verve: 314 521 426-2 (MGV-8262), 1957, c1997. With Stitt, Rollins, Ray Bryant, Tom Bryant, and Charlie Persip: “Eternal Triangle,” “I Know That You Know,” etc.; contains some of the fastest, most fluent tenor sax playing on record; Rollins, Gillespie, and Stitt keep up with each other at their fiery best on “Eternal Triangle”; some authorities consider this to be the best Rollins on record. Dizzy Gillespie at Newport. Verve: 513 754-2 (V6-8830/MGV8242), 1957, c1992. Live recording made by Gillespie big band at Newport Jazz Festival; with Lee Morgan, Al Grey, Benny Golson, Billy Mitchell, Wynton Kelly, etc.; Gillespie considers his “Dizzy's Blues” solo here to be one of his best on record. see CHARLIE PARKER - Savoy and Dial recordings and Bird and Diz see ANTHOLOGIES - Bebop, The Bebop Revolution, Big Band Jazz, Big Band Renaissance, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz BENNY GOODMAN, 1909-1986 (Clarinet/Big Band) Ken Burns JAZZ Collection: Benny Goodman. Sony/Legacy: 61445, 1927-49, c2000. * B.G. & Big Tea in NYC. Decca Jazz/GRP: 609, 1929-34, c1992. Red Nichols and His Five Pennies: “Dinah” with Goodman and Jack Teagarden (1929); plus Joe Venuti-Eddie Lang: “Farewell Blues” and “Beale St. Blues” with Teagarden, Frank Signorelli, Joe Tarto, and Neil Marshall (1931). + The Birth of Swing. RCA Bluebird: 61038 (Victor), 3CD set, 1935-36, c1991. Big band recordings including “Japanese Sandman,” “Blue Skies,” “When Buddha Smiles,” “King Porter Stomp,” and “Down South Camp Meeting.” Sing Sing Sing. RCA Bluebird: 5630 (Victor), 1935-38, c1987. Big band recordings including “King Porter Stomp,” “Down South Camp Meeting,” and “Sing Sing Sing.” The Centennial Collection. RCA Bluebird: 60088 (Victor), 1935-39, c2004. + The King of Swing. RCA Bluebird: 63902 (Victor), 1935-39, c2002. Big band recordings including “King Porter Stomp,” “Sometimes I’m Happy,” “Wrappin’ It Up,” and “Sing Sing Sing.” + The Harry James Years. Vol. 1. RCA Bluebird: 66155, 1937-38, c1993. + The Complete RCA Victor Small Group Recordings. Victor Jazz: 68764, 3CD set, 1935-39, c1997. + The Legendary Small Groups. RCA Bluebird: 63994, 1935-39, c2002. Trio and quartet recordings with Teddy Wilson, Lionel Hampton, and Gene Krupa or Dave Tough; includes “Body and Soul.”

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Benny Goodman at Carnegie Hall. Columbia/Legacy: 65143 (OSL 160), 2CD set, 1938, c1999. Includes “Don't Be That Way,” “One O'Clock Jump,” and “Shine,” with Count Basie, Lester Young, Lionel Hampton, Harry James, Gene Krupa, Teddy Wilson, and others; “Avalon,” “Blue Reverie,” and “Blue Room,” with Johnny Hodges, Teddy Wilson, Gene Krupa, Harry James, and others. + Benny Goodman Sextet Featuring Charlie Christian. Columbia: 45144, 1939-41, c1989. Includes “I Found a New Baby.” see ANTHOLOGIES - Big Band Jazz, Big Band Renaissance, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz DEXTER GORDON, 1923-1990 (Tenor Sax) Settin’ the Pace. Proper: BOX 16 (Savoy, Dial), 4CD set, 1943-50, c2001. (import) Settin’ the Pace. Savoy Jazz: 17027 (12130), 1945-47, c1998. With Argonne Thornton, Gene Ramey, Ed Nicholson (1945): “Blow Mr. Gordon,” “Dexter's Deck,” and others; with Leonard Hawkins, Bud Powell, Curly Russell, and Max Roach (1946): “Long Tall Dexter,” “Dexter Rides Again,” “Dexter Digs In,” and others; with Leo Parker, Tadd Dameron, Curly Russell, and Art Blakey (1947): “Settin' the Pace,” “Dexter's Riff,” etc. Dexter Gordon on Dial: the Complete Sessions. Spotlite: SPJ-130 (Dial), 1947, c1994. With Red Callender, Chuck Thompson or Roy Porter, Charles Fox, Jimmy Rowles, Jimmy Bunn, Teddy Edwards, and Wardell Gray: “Lullaby in Rhythm,” “The Chase,” “Sweet and Lovely,” “The Duel,” “Bikini,” and others. see DIZZY GILLESPIE - Groovin’ High see HERBIE HANCOCK - Takin' Off see ANTHOLOGIES - Jazz in Revolution and The Smithsonian Collection of Classic Jazz KENNY G [Gorelick], 1959- (Soprano Sax) Duotones. Arista: 8496, c1986. Includes “Songbird.” Silhouette. Arista: 8457, c1988. Breathless. Arista: 18646, c1992. The Moment. Arista: 18935, c1996. see JEFF LORBER HERBIE HANCOCK, 1940- (Keyboards) Ken Burns JAZZ Collection: Herbie Hancock. Sony/Legacy: 61446 (Blue Note/Columbia), 1962-96, c2000. Sbme Special Mkts.

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Best of Herbie Hancock: The Blue Note Years. Blue Note: 91142 (89907), 1962-69, c1988. Includes “Watermelon Man,” “Maiden Voyage,” and “Dolphin Dance.” Takin' Off. Blue Note: 92757 (84109), 1962, c2007. With Dexter Gordon, Freddie Hubbard, and Billy Higgins; includes “Watermelon Man.” Empyrean Isles. Blue Note: 98796 (84175), 1964, c1998. With Freddie Hubbard, Ron Carter, and Tony Williams. Maiden Voyage. Blue Note: 95331 (84195), 1965, c1999. Pianist-composer Hancock leading the Miles Davis group of 1963, with trumpeter Freddie Hubbard instead of Davis; with George Coleman, Ron Carter, and Tony Williams; all tunes composed by Hancock: “Maiden Voyage,” “Dolphin Dance,” “Little One,” and others; it contains some of Hubbard's best recorded solos and showcases Hancock's best writing. Speak Like a Child. Blue Note: 64468 (84279), 1968, c2005. Includes a trio recording of “The Sorcerer.” The Prisoner. Blue Note: 25649 (84321), 1969, c2000. With solos by Johnny Coles, Joe Henderson, Garnett Brown, and Hancock; the interplay between pianist Hancock, bassist Buster Williams, and drummer Al Heath on “He Who Lives in Fear” conceptually resembles the Bill Evans-Scott LaFaro-Paul Motian approaches; also includes “I Have a Dream.” + Mwandishi Herbie Hancock: The Complete Warner Bros. Recordings. Warner Bros: 45732 (1898/2617), 2CD set, 1969-71, c1994. Originally Mwandishi and Crossings; these are from his space music period that was post-hard bop, pre-jazz/rock. Sextant. Columbia/Legacy: 64983 (32212), 1972, c1998. One of the precursors of the jazz/rock styles.

Sbme Special Mkts.

Head Hunters. Columbia/Legacy: 65123 (32731), 1973, c1997. Hancock's best-selling record prior to Future Shock; a funk/jazz style: “Chameleon” and a new “Watermelon Man.” Thrust. Columbia/Legacy: 64984 (32965), 1974, c1998. With Hancock (electric piano and synthesizers), Bennie Maupin (soprano and tenor sax, saxello, bass clarinet, alto flute), Paul Jackson (electric bass), Mike Clark (drums), and Bill Summers (percussion); all compositions by Hancock: “Spank A Lee,” “Butterfly,” “Actual Proof,” “Palm Grease”; this recording is included as an example of Hancock's popular mid-1970's band, which was heavily influenced by Sly Stone and funk; Hancock has stated that, along with Miles Davis, My Funny Valentine, Thrust represents his best work.

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* Death Wish. One Way: 26659 (Columbia 33199), 1974, c1996. Film score by Hancock: “Death Wish,” “Suite Revenge,” “Fill Your Hand,” etc.; most arranged by Jerry Peters; this is included as an example of Hancock's versatility as a composer; the first three selections on its second side are beautiful, classical type pieces in the manner of Erik Satie and other early 20th century composers. Future Shock. Columbia/Legacy: 65962 (38814), 1983, c1999. Includes “Rockit.”

Sbme Special Mkts.

see MILES DAVIS - Seven Steps to Heaven, In Europe, My Funny Valentine, Four and More, Miles Davis Quintet 1965-1968: The Complete Columbia Studio Recordings, Miles in Berlin, E.S.P., Plugged Nickel, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro see JOE HENDERSON - Power to the People see WAYNE SHORTER - Speak No Evil see ANTHOLOGIES - Jazz Piano and Ken Burns JAZZ COLEMAN HAWKINS, 1904-1969 (Tenor Sax) Classic Coleman Hawkins Sessions 1922-1947. Mosaic: MD8-251 (Victor/Bluebird/Signature), 8CD set, 1922-1947, c2012. * Ken Burns JAZZ Collection: Coleman Hawkins. Verve: 549 085-2, 1926-63, c2000. The Essential Sides Remastered. JSP: 931, 4CD set, 1929-39, c2006. All pre-“Body and Soul.” The Hawk in Europe. ASV: 5054 (Swing), 1935-37, c1988. In Paris: “Honeysuckle Rose” and “Crazy Rhythm” with Benny Carter and Django Reinhardt. * The Centennial Collection. RCA Bluebird: 60086 (Victor/Bluebird), 1929-57, c2004. Body and Soul. Victor Jazz: 68515 (Victor/Bluebird), 1939-56, c1996. All sample a variety of recording sessions including “Body and Soul” (1939) and a 1947 bop date with Fats Navarro (“Half Step Down, Please”); “When Lights Are Low.” + Tenor Giants: Coleman Hawkins and Chu Berry. Commodore/Verve: 543 271-2, 1938-43, c2000. With Benny Carter, Roy Eldridge, and others; includes “I Can’t Believe That You’re in Love with Me” (1940). * The Complete Coleman Hawkins on Keynote. Mercury: 830 960, 4CD set, 1944, c1987. Includes sessions with Teddy Wilson, Charlie Shavers, Billy Taylor, and Denzil Best: “My Man” and “El Salon de Gutbucket”. see BENNY CARTER - Further Definitions see LIONEL HAMPTON - Ring Dem Bells

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see FLETCHER HENDERSON see DJANGO REINHARDT - All Star Sessions see ANTHOLOGIES - Classic Tenors, Jive at Five, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz JOE HENDERSON, 1937-2001 (Tenor Sax) Page One. Blue Note: 98795 (84140), 1963, c1999. In ‘n’ Out. Blue Note: 96507 (84166), 1964, c2004. Joe Henderson: The Milestone Years. Milestone: 4413, 8CD set, 1967-75, c1994. NOTE: includes all Milestone sessions cited in text. Tetragon. Fantasy: OJC-844 (Milestone 9017), 1967-68, c1995. With Kenny Barron or Don Friedman, Ron Carter, Louis Hayes or Jack DeJohnette: “Invitation,” “Tetragon,” and others. Power to the People. Milestone: 30130 (9024), 1969, c2007. With Herbie Hancock, Ron Carter, Jack DeJohnette, and, on two tunes, Mike Lawrence: “Black Narcissus,” “Power to the People,” “Lazy Afternoon,” and others; four tunes are written by Henderson, one by Carter. + Double Rainbow: The Music of Antonio Carlos Jobim. Verve: 314 527 222-2, 1994, c1995. see HERBIE HANCOCK - The Prisoner see HORACE SILVER - Song for My Father and Cape Verdean Blues EARL HINES, 1903-1983 (Piano) * The Earl Hines Collection: Piano Solos, 1928-1940. Collector’s Classics: COCD-11 (QRS/Okeh/Brunswick/Bluebird), 1928-40, c1993. (import) Includes “Blues in Thirds,” “Chimes in Blues,” and “Fifty-Seven Varieties.” * Piano Man. RCA Bluebird: 6750, 1939-42, c1989. Solo and big band; includes “Blues in Thirds” with Sidney Bechet. see LOUIS ARMSTRONG - Louis Armstrong and Earl Hines and Hot Five. Vol. 3 see ANTHOLOGIES - Jazz Piano and Smithsonian Collection of Classic Jazz BILLIE HOLIDAY, 1915-1959 (Singer) Ken Burns JAZZ Collection: Billie Holiday. Verve: 549 081-2 (Columbia/Decca/Verve), 1935-58, c2000. Lady Day: The Master Takes and Singles. Columbia/Legacy: 10955 (Columbia/Brunswick/Vocalion/OKeh), 4CD set, 1935-42, c2007.

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Billie Holiday/Lester Young: A Musical Romance. Columbia/Legacy: 86635, 1937-38, 1958, c2002. Sbme Special Mkts. The Billie Holiday Collection 1. Columbia/Legacy: 87067, 1935-36, c2003. + The Billie Holiday Collection 2. Columbia/Legacy: 87068, 1936-37, c2003. + The Billie Holiday Collection 3. Columbia/Legacy: 87069, 1937-39, c2003. All with Lester Young, Buck Clayton, Teddy Wilson, Roy Eldridge, and others; includes “He’s Funny That Way”; “Back in Your Own Backyard” is only on the 4CD set. + The Billie Holiday Collection 4. Columbia/Legacy: 87070, 1939-44, c2003. Includes “Gloomy Sunday” and “God Bless the Child.” The Complete Commodore Recordings. Commodore/GRP: CMD2-401, 2CD set, 1939, 1944, c1997. The Commodore Master Takes. Commodore/Verve: 543 272-2, 1939, 1944, c2000. Includes “Strange Fruit” and “Fine and Mellow.” The Complete Decca Recordings. Decca Jazz/GRP: GRD2-601, 2CD set, 1944-50, c1991. Includes “Lover Man,” “Good Morning Heartache,” and “God Bless the Child.” + Solitude. Billie Holiday Story, 2. Verve: 314 519 810-2 (Clef), 1952, c1993. Includes “These Foolish Things.” Lady in Satin. Columbia/Legacy: 65144 (CS8048), 1958, c1997. See ANTHOLOGIES - Ken Burns JAZZ and Smithsonian Collection of Classic

Jazz

FREDDIE HUBBARD, 1938-2008 (Trumpet) see ART BLAKEY - Mosaic, Three Blind Mice, Caravan, and Ugetsu see ORNETTE COLEMAN - Free Jazz see JOHN COLTRANE - Olè see HERBIE HANCOCK - Maiden Voyage and Empyrean Isles for some of Hubbard's best recorded solos see J.J. JOHNSON - J.J. Inc. see OLIVER NELSON - Blues and the Abstract Truth see WAYNE SHORTER - Speak No Evil IRAKERE (Cuban band) The Best of Irakere. Columbia: 57791, 1978-79, c1994. Sbme Special Mkts. With Chucho Valdés, Paquito D’Rivera, and Arturo Sandoval. + Live at Ronnie Scott’s. World Pacific: 80598, 1991, c1993. With Chucho Valdés. BOB JAMES, 1939- (Keyboards) Bob James & Earl Klugh: One on One. Koch: 9941 (Warner Bros. 45141), 1979, c2006.

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Double Vision. Warner Bros.: 25393, c1986. With David Sanborn. Fourplay: Fourplay. Warner Bros.: 26656, c1991. Fourplay: Between the Sheets. Warner Bros.: 45340, c1993. KEITH JARRETT, 1945- (Piano) * Foundations: The Keith Jarrett Anthology. Rhino: 71593, 2CD set, 1966-71, c1994. Includes work with Art Blakey, Charles Lloyd, Gary Burton, and trio/quartet with Charlie Haden, Paul Motian, and Dewey Redman. Somewhere Before. Atlantic (Vortex 2012), 1969, c2010. (import) With Charlie Haden and Paul Motian; includes “Pretty Ballad.” Facing You. ECM: 1017, 1971, c2000. Solo piano; all compositions by Jarrett: “In Front,” “Ritooria,” and others. In the Light. ECM: 1033/34, 2CD set, 1973, c2000. The Impulse Years 1973-1974. Impulse!: IMPD4-237, 4CD set, 1973-74, c1997. Includes Death and the Flower, Backhand, and other material. + Death and the Flower. Impulse!: 139 (A-9301), 1974, c1994. Quartet with Dewey Redman, Charlie Haden, and Paul Motian. + Backhand. Impulse!: 9305, LP, 1974, c1975. With Redman, Haden, Motian, and Guilherme Franco: “In Flight,” “Kuum,” “Valpallia,” and “Backhand.” Belonging. ECM: 1050, 1974, c2000. With Garbarek, Palle Danielsson, and Jon Christensen; all tunes by Jarrett: “Spiral Dance,” “Blossom,” “Long as You Know,” “You're Living Yours,” “Belonging,” “The Windup,” and “Solstice.” + Mysteries: the Impulse! Years. Impulse!: IMPD4-189, 4CD set, 1975-76, c1996. With Redman, Haden, Motian, and Guilherme Franco; includes Shades (A-9322), Byablue (A-9331), Bop-Be (A-9334), and additional material; songs include “Shades of Jazz,” “Pocket Full of Cherry,” and “Rainbow.” Staircase. ECM: 1090, 2CD set, 1976, c2000. Solo piano. Eyes of the Heart. ECM: 1150, 1976, c2000. Quartet with Redman, Haden, and Motian; includes “Encore.” * Silence. Impulse!: 117 (A-9331/A-9334), 1977, c1992. Quartet with Redman, Haden, and Motian; includes Byablue (9331) and Bop-Be (9334).

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My Song. ECM: 1115, 1977, c1999. With Jan Garbarek, Palle Danielsson, and Jon Christensen. The Cure. ECM: 1440, 1990, c1991. Trio with Gary Peacock and Jack DeJohnette. Radiance. ECM: 1960/61, 2CD set, 2000, c2005. Solo piano. see ANTHOLOGIES - Jazz Piano KEITH JARRETT AS SIDEMAN Charles Lloyd: Forest Flower/Soundtrack. Rhino: 71746 (Atlantic 1473/1519), 1966, 1969, c1994. see Foundations: The Keith Jarrett Anthology (above) See ART BLAKEY – Buttercorn Lady see CHARLIE HADEN - Closeness KEITH JARRETT AS INFLUENCE + Art Lande & Jan Garbarek: Red Lanta. ECM: 1038, 1973, c1987. Lande's playing here suggests the work of Keith Jarrett. * Dave Liebman: Forgotten Fantasies. A&M/Horizon: SP-709, LP, 1975, c1976. With Richie Beirach; the piano work here suggests Jarrett. Brad Mehldau: Art of the Trio 4: Back at The Vanguard. Warner Bros.: 47463, 1999, c1999. J. J. JOHNSON, 1924-2001 (Trombone) + Origins: The Savoy Sessions. Savoy Jazz: 17127 (12106), 1946-49, c2002. Includes “Coppin' the Bop,” “Jay Jay,” and “Jay-bird.” The Eminent Jay Jay Johnson. Vols. 1 & 2. Blue Note: 32143/32144 (1505/1506), 2CDs, 1953-55, c2001. With Clifford Brown, Jimmy Heath, John Lewis, Percy Heath, and Kenny Clarke (1953): “Turnpike,” “Lover Man,” “Get Happy,” “Sketch 1,” “Capri,” and “It Could Happen to You”; with Wynton Kelly, Charles Mingus, Kenny Clarke, and Sabu (1954): “Jay,” “Old Devil Moon”; with Hank Mobley, Horace Silver, and Paul Chambers (1955). * The Complete Columbia J.J. Johnson Small Group Sessions. Mosaic: MD7-169, 7CD set, 1956-61, c1996. Includes First Place, Blue Trombone, J.J. Inc., and others.

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Trombone Master. Columbia: 44443, 1957-60, c1989. Compilation from various Columbia sessions. First Place. American Jazz Classics: 99003 (Columbia CL 1030), 1957, c2009. (import) With Tommy Flanagan, Paul Chambers, and Max Roach. Blue Trombone. American Jazz Classics: 99002 (Columbia CL 1303), 1957, c2009. (import) With Bobby Jaspar, Tommy Flanagan, and Elvin Jones. + J.J. Inc. Columbia/Legacy: 65296 (CL 1606), 1960, c1997. With Freddie Hubbard, Clifford Jordan, and Cedar Walton; includes “Aquarius.” see STAN GETZ - Stan Getz and J.J. Johnson at the Opera House see ANTHOLOGIES - The Birth of the Third Stream JAMES P. JOHNSON, 1894-1955 (Piano) * Harlem Stride Piano. Hot ‘n Sweet/EPM: 151032 (OKeh/Victor/Columbia), 1921-29, c1992. * Harlem Stride Piano 1921-1929. Jazz Archives/EPM: 158952, 1921-29, c1992. Both include “Carolina Shout” (1921). + Snowy Morning Blues. Decca Jazz/GRP: 604 (Brunswick), 1930, 1944, c1991. Includes “You've Got to Be Modernistic” and “Jingles” (1930). see ANTHOLOGIES - Jazz Piano, Piano in Style, and The Smithsonian Collection of Classic Jazz STAN KENTON, 1912-1979 (Big Band) * The Complete Capitol Studio Recordings of Stan Kenton 1943-47. Mosaic: MD8-163, 8CD set/MQ12-163, 12LP set, 1943-47, c1995. Includes “Artistry in Rhythm,” “Eager Beaver,” “Tampico,” and others. The Best of Stan Kenton. Capitol: 31504, 1943-61, c1995. Includes “Artistry in Rhythm” and “Eager Beaver.” * Innovations Orchestra. Capitol Jazz: 59966, 2CD set, 1950-51, c1997. Includes Pete Rugolo’s “Mirage.” New Concepts of Artistry in Rhythm. Capitol: 92865 (T 383), 1952, c1989. Arrangements by Gerry Mulligan, Bill Russo, Bill Holman; solos by Conte Candoli, Lee Konitz, Maynard Ferguson, and Frank Rosolino: “My Lady,” “23 Degrees N, 82 Degrees W” and “Portrait of a Count.” Adventures in Jazz. Capitol Jazz: 21222 (T 1796), 1961, c1999. With mellophoniums; Kenton felt this to be one of his best recordings; includes Bill Holman's arrangement of “Malaguena” and Dee Barton's “Turtle Talk” and “Waltz of the Prophets.”

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+ Retrospective. Capitol: 97350, 4CD set, 1943-1968, c1992. Includes “Artistry in Rhythm,” “Eager Beaver,” “Tampico,” and others. (The following list of Kenton recordings is organized by arranger.) DEE BARTON + Stan Kenton Conducts the Jazz Compositions of Dee Barton. Creative World: 1022 (Capitol ST 2922), LP, 1967, c1982. ROBERT CURNOW National Anthems of the World. Creative World: 1060, 1972, c2010. Stan Kenton Plays Chicago. Creative World: 1072, 1974, c1992. RUSS GARCIA * Stan Kenton Conducts The Los Angeles Neophonic Orchestra. Capitol: 94502 (SMAS 2424), 1965, c1998. Includes “Adventures in Emotions, Parts I-V.” ROBERT GRAETTINGER + The City of Glass. Capitol: 32084 (T 736), 1951, c1995. BILL HOLMAN * Stan Kenton: The Complete Capitol Recordings of the Holman and Russo Charts. Mosaic: MD4-136, 4CD set, 1950-63, c1991. + Kenton Showcase. Capitol Jazz: 25244 (W 524), 1952-54, c2000. Contemporary Concepts. Capitol: 42310 (T 666), 1955, c2003. STAN KENTON * Collector's Choice. Creative World: 1027, LP, 1951. * Jazz Compositions of Stan Kenton. Creative World: 1078 (Capitol), LP, 1946-56. Includes “Eager Beaver,” “Opus in Pastels,” “Concerto to End All Concertos,” and others. * Kenton/Wagner. Creative World: 1024 (Capitol 2217), LP, 1964. BILL MATHIEU Standards in Silhouette. Capitol: 94503 (1394), 1959, c1998. LENNIE NIEHAUS The Stage Door Swings. Capitol: 77551 (1166),

1958, c2005.

The Sophisticated Approach. Capitol Jazz: 52994 (1674), 1961, c2006. * Adventures in Standards. Creative World: 1025, LP, 1961.

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JOHNNY RICHARDS Cuban Fire. Capitol: 96260 (T 731), 1956, c1991. Back to Balboa. Capitol Jazz: 93094 (Capitol T 995), 1958, c2004. * Adventures in Time: A Concerto for Orchestra. Capitol: 55454 (1844), 1962, c1997. GENE ROLAND * Viva Kenton! Capitol Jazz: 60444 (1305), 1959, c2005. * Adventures in Blues. Capitol Jazz: 20089 (1985), 1960-61, c1999. PETE RUGOLO + Stan Kenton Encores. Creative World: 1034 (Capitol T155), LP, 1946-47, c[197?]. * A Concert in Progressive Jazz. Creative World: 1037 (Capitol T172), LP, 1947. The Kenton Touch/Lush Interlude. Collector’s Choice: 81725 (Capitol 1276), 2CD set, 1958, c2003. BILL RUSSO Portraits on Standards. Capitol: 31571 (T 462), 1951-54, c2001. + Kenton Showcase. Capitol Jazz: 25244 (W 524), 1954, c2000. Includes “Egdon Heath,” and others. see under KENTON ARRANGERS: BILL HOLMAN see ANTHOLOGIES - Big Band Jazz, Big Band Renaissance, and Mirage KING CURTIS [Ousley], 1934-1971 (Tenor Sax) King of the Sax. Fuel 2000: 61378 (Enjoy), [1962], c2004. Have Tenor Sax Will Blow/Live at Small’s Paradise. Collectables: 6418 (Atco), 1959, c2000. Soul Meeting. Prestige: 24033 (7222), 1960, c1994. SEE Oliver Nelson - Soul Battle ANDY KIRK, 1898-1992 (Bandleader) * Andy Kirk & The 12 Clouds of Joy with Mary Lou Williams. ASV Living Era: 5108 (Decca), 1929-40, c1993. * Andy Kirk & Mary Lou Williams: Mary’s Idea. Decca Jazz/GRP: 622, 1936-41, c1993. Mary Lou Williams’ compositions, arrangements, and piano for Andy Kirk and His Twelve Clouds of Joy.

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EARL KLUGH, 1954- (Guitar) Living Inside Your Love. Blue Note: 77544 (Liberty 667), 1976, c2005. * Low Ride. Capitol: 12253 (46007), c1983. see BOB JAMES - One on One LEE KONITZ, 1927- (Alto Sax) Subconscious Lee. Fantasy: OJC-186 (Prestige 7004), 1949-50, c1991. With Lennie Tristano, Warne Marsh, and Shelly Manne; includes “Subconscious Lee,” “Marshmallow,” and “Ice Cream Konitz.” Konitz Meets Mulligan. Pacific Jazz: 46847 (PJ 20142), 1953, c1988. Ideal Scene. Soul Note: 121119, 1986, c1986. Konitz on tenor saxophone. see MILES DAVIS - The Birth of the Cool see GERRY MULLIGAN - Complete Pacific Jazz and Capitol Recordings see STAN KENTON – New Concepts of Artistry in Rhythm see CLAUDE THORNHILL see LENNIE TRISTANO - Intuition and Complete Atlantic Recordings see ANTHOLOGIES - The Bebop Era and Smithsonian Collection of Classic Jazz JEFF LORBER, 1952- (Keyboards) + The Definitive Collection. Arista: 14639, c2000. With Kenny G on some selections. MACHITO [Frank R. Grillo], 1908-1984 (Bandleader/Singer/Maracas) Ritmo Caliente: Machito and His Afro-Cubans. Proper: BOX 48 (Decca/Clef), 4CD set, 1941-51, c2002. Includes Mario Bauzá’s “Tanga” as well as sidemen Brew Moore, Zoot Sims, Milt Jackson, Flip Phillips, Howard McGhee, and Charlie Parker. Carambola: Live at Birdland. Tumbao: TCD 024, 1951, c1992. See ANTHOLOGIES - The Original Mambo Kings BRANFORD MARSALIS, 1960- (Saxophone) + Buckshot Lefonque. Columbia: 57323, c1994.

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WYNTON MARSALIS, 1961- (Trumpet) + Wynton Marsalis. Columbia: 37574, c1982. + Think of One. Columbia: 38641, c1983. Black Codes (From the Underground). Columbia: 40009, 1985, c1985. J Mood. Wounded Bird: 4308 (Columbia 40308), 1985, c2007. + Blood on the Fields. Columbia: 57694, 3CD set, 1995, c1997. see ART BLAKEY - Album of the Year and Keystone 3 JOHN MCLAUGHLIN, 1942- (Guitar) My Goal's Beyond. Douglas: AD-03 (9), 1970, c2010. Includes “Follow Your Heart.” + Mahavishnu Orchestra: The Inner Mounting Flame. Columbia/Legacy: 65523 (31067), 1971, c1998. Mahavishnu Orchestra: Birds of Fire. Columbia/Legacy: 66081 (31996), 1972, c2000. Sbme Special Mkts. see MILES DAVIS - In a Silent Way, Bitches Brew, Jack Johnson, and Live-Evil see TONY WILLIAMS - Emergency! THE MODERN JAZZ QUARTET + MJQ40: The Boxed Set. Atlantic: 82330, 4CD set, 1952-88, c1991. Includes Prestige and Atlantic material. Django. Prestige/Concord: 8110 (P-7057), 1953-54, c2006. With Milt Jackson, John Lewis, Percy Heath, and Kenny Clarke: “Milano,” “Django,” “La Ronde,” “The Queen's Fancy,” and others. Concorde. Prestige: 30653 (P-7005), 1955, c2008. With Jackson, Lewis, Heath, and Connie Kay. European Concert. Collectables: 7836 (Atlantic: 603), 1960, c2007. Concert by Jackson, Lewis, Heath, and Kay: “Django” and “Bluesology.” see ANTHOLOGIES - Ken Burns JAZZ and Nica's Dream

THELONIOUS MONK, 1917-1982 (Piano) Ken Burns JAZZ Collection: Thelonious Monk. Sony/Legacy: 61449 (Blue Note/Prestige/Riverside/Columbia/Black Lion), 1947-71, c2000.

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+ The Complete Blue Note Recordings of Thelonious Monk. Blue Note: 30363, 4CD set, 1947-52, 1957, c1994. Genius of Modern Music. Vols. 1 & 2. Blue Note: 32138/32139 (1510/1511), 2CDs, 1947-52, c2001. With Milt Jackson, Art Blakey, Idris Sulieman, etc.: “Humph,” “In Walked Bud,” “Epistrophy,” “Misterioso,” “Well You Needn't,” “Off Minor,” “Straight No Chaser,” “Evidence,” “Criss Cross,” “’Round Midnight,” and others. Best of Thelonious Monk: The Blue Note Years. Blue Note: 95636, 1947-52, c1991. Includes many of the above selections. The Complete Prestige Recordings. Fantasy: 4428, 3CD set, 1944, 1952-54, c2000. Includes “Smoke Gets in Your Eyes”; also includes sessions led by Coleman Hawkins (1944) and Miles Davis (1954): “Bag’s Groove.” Thelonious Monk: The Complete Riverside Recordings. Riverside: 022, 15CD set, 1955-1961, c1986. Thelonious Himself. Riverside: 30510 (RLP 235), 1957, c2008. Solo piano: “Functional,” “I Should Care,” and “'Round Midnight.” Thelonious Monk Quartet with John Coltrane at Carnegie Hall. Blue Note: 35173, 1957, c2005. Thelonious in Action. Fantasy: OJC-103 (Riverside 262), 1958, c1988. With Johnny Griffin at the Five Spot Cafe; includes “Rhythm-‘n-ing.” Criss Cross. Columbia/Legacy: 63537 (CS8838/CL2038), 1963, c2003. Includes “Tea for Two.” Sbme Special Mkts. It’s Monk's Time. Columbia/Legacy: 63532 (CS 8984/CL 2184), 1964, c2003. With Charlie Rouse, Butch Warren, and Ben Riley: “Brake's Sake,” “Lulu's Back in Town,” and “Nice Work If You Can Get It.” see MILES DAVIS - Miles Davis and the Modern Jazz Giants and Bag's Groove see CHARLIE PARKER - Bird and Diz and Bird: Complete on Verve see ANTHOLOGIES - Bebop, Jazz Piano, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz WES MONTGOMERY, 1925-1968 (Guitar) Incredible Jazz Guitar. Riverside: 30790 (RLP 9320), 1960, c2008. With Tommy Flanagan, Percy Heath, and Al Heath: “West Coast Blues,” “Mister Walker,” “Four on Six,” and others. + Impressions: The Verve Jazz Sides. Verve: 521 690-2, 2CD set, 1964-66, c1995. Bumpin’. Verve: 314 539 062-2 (V6-8625), 1965, c1997.

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Smokin' at the Half Note. Verve: B0003934-02 (V6-8633), 1965, c2005. With Wynton Kelly, Paul Chambers, and Jimmy Cobb. A Day in the Life. A&M: 75021 0816 (3001), 1967, c1989. JELLY ROLL MORTON, 1890-1941 (Piano/Composer/Bandleader) Jelly Roll Morton. Milestone: 47018 (Gennett), 1923-26, c1992. Includes “Mamanita” and “The Pearls.” * The Pianist and Composer. Smithsonian: RD-043, 1923-26, c1991. Jelly Roll Morton: 1926-1930. JSP: 903, 5CD set (Victor), 1926-30, c[1991]. (import) * The Jelly Roll Morton Centennial: His Complete Victor Recordings. RCA Bluebird: 2361, 5CD set, 1926-30, 1939, c1990. + The Pearls. RCA Bluebird: 6588 (Victor), 1926-38, c1988. * Chicago: The Red Hot Peppers. Smithsonian: RD-044 (Victor), 1926-28, c1991. Birth of the Hot: The Classic Chicago “Red Hot Peppers” Sessions. RCA Bluebird: 66641, 1926-27, c1993. Sbme Special Mkts. With Kid Ory, George Mitchell, Johnny St. Cyr, and others: “Black Bottom Stomp,” “The Chant,” “Dead Man Blues,” and others; also “Wolverine Blues” with Johnny and Baby Dodds. + Jelly Roll Morton: The Complete Library of Congress Recordings by Alan Lomax. Rounder: 1888, 8CD set + book, 1938, c2005. Features Morton talking and playing. Kansas City Stomp. The Library of Congress Recordings, v. 1. Rounder: 1091, 1938, c1993. Anamule Dance. The Library of Congress Recordings, v. 2. Rounder: 1092, 1938, c1993. The Pearls. The Library of Congress Recordings, v. 3. Rounder: 1093, 1938, c1993. Winin' Boy Blues. The Library of Congress Recordings, v. 4. Rounder: 1094, 1938, c1993. The 4 single CDs feature mostly just the musical selections. see ANTHOLOGIES - Jazz Piano, Ken Burns JAZZ, Piano in Style, Riverside Collection of Classic Jazz, and The Smithsonian Collection of Classic Jazz

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GERRY MULLIGAN, 1927-1996 (Baritone Sax) * The Complete Pacific Jazz and Capitol Recordings of the Original Gerry Mulligan Quartet and Tentette with Chet Baker. Mosaic: MD3-102, 3CD set, 1952-53, c1989. With Chet Baker, Bob Whitlock, and Chico Hamilton (1952): “Walkin' Shoes,” “Soft Shoe,” and “Freeway”; live session with Lee Konitz, Baker, Carson Smith or Joe Mondragon, and Larry Bunker (1953): “I Can't Believe That You're in Love with Me,” “Broadway,” “All the Things You Are,” “Almost Like Being in Love,” and “Lover Man” (a transcription of the Konitz solo on this tune is available in John Mehegan, Jazz Improvisation, vol. 2); Mulligan Tentette with Baker, Pete Candoli, Bob Enevoldsen, John Graas, Ray Siegel, Bud Shank, Don Davidson, Mondragon, Hamilton, and Bunker (1953): “Walkin' Shoes,” “Rocker,” “Flash,” and others; Mulligan considers this session to represent some of his best work. * The Complete Pacific Jazz Recordings of the Gerry Mulligan Quartet with Chet Baker. Pacific Jazz: 38263, 4CD set, 1952-57, c1996. The Original Quartet with Chet Baker. Pacific Jazz: 94407, 2CD set, 1952-53, c1998. The Best of the Gerry Mulligan Quartet with Chet Baker. Pacific Jazz: 95481, 1952-53, c1991. Includes “Walkin' Shoes,” “Soft Shoe,” and “Freeway.” + At Storyville. Pacific Jazz: 94472 (1228), 1956, c1990. With Bob Brookmeyer. What Is There To Say? Columbia/Legacy: 52978 (CS 8116), 1959, c1994. Sbme. With Art Farmer, Bill Crow, and Dave Bailey: “What Is There to Say?,” “Just in Time,” “As Catch Can,” and others; Mulligan feels this recording to be some of his best work. * The Complete Verve Gerry Mulligan Concert Band Sessions. Mosaic: MD4-221 (Verve), 4CD set, 1960-62, c2003. Includes both of the following two albums: The Concert Jazz Band. Poll Winners: 27264 (Verve MGV-8388), 1960, c2011. Big band featuring Mulligan and Bob Brookmeyer: “Sweet and Slow,” “Out of This World,” Duke Ellington's “I'm Gonna Go Fishin,” and Mulligan's “Bweebida, Bobbida,” and others. Gerry Mulligan and The Concert Jazz Band at the Village Vanguard. Verve: 314 589 488-2 (V6-8396), 1960, c1989. The above band in concert featuring Clark Terry and Bob Brookmeyer: “Black Nightgown,” “Body and Soul,” “Come Rain or Come Shine,” and others. see MILES DAVIS - The Birth of the Cool see PAUL DESMOND - Two of a Mind see DUKE ELLINGTON - Newport 1958 see LEE KONITZ - Lee Konitz Meets Gerry Mulligan see ANTHOLOGIES - Big Band Renaissance, The Birth of the Cool. Vol. 2, and Ken Burns JAZZ

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OLIVER NELSON, 1932-1975 (Saxophone) Soul Battle. Prestige: OJC-325 (7223), 1960, c1992. With King Curtis. Blues and the Abstract Truth. Impulse!: 154 (A-5), 1961, c1995. With Freddie Hubbard, Eric Dolphy, Bill Evans, and Roy Haynes. DAVID “FATHEAD” NEWMAN, 1933-2009 (Saxophone) * House of David: The David “Fathead” Newman Anthology. Rhino: 71452 (Atlantic +), 2CD set, 1952-89, c1993. Fathead: Ray Charles Presents David Newman. Collectables: 6541 (Atlantic 1304), 1958, c2005. CLAUS OGERMANN, 1930- (Composer/Arranger) Cityscape. Warner Bros.: 23698, 1982, c1995. With Michael Brecker. KING OLIVER, 1885-1938 (Cornet) King Oliver, Off the Record: The Complete 1923 Band Recordings. Archeophone: OTR-MM6-C2 (Gennett/OKeh/Paramount), 2CD set, 1923, c2007. King Oliver’s Creole Jazzband: The Complete Set. Retrieval/Challenge: RTR 79007 (Gennett/OKeh/Paramount), 2CD set, 1923-24, c1996. (import) * King Oliver's Jazz Band. Smithsonian: 2001 (OKeh), 2LP set, 1923, c1975. With Louis Armstrong, Johnny Dodds, Honore Dutrey, Lil Hardin, etc.: “Snake Rag,” “Sweet Lovin' Man,” “High Society Rag,” “Dippermouth Blues,” “West End Blues,” etc. Louis Armstrong and King Oliver. Milestone: 47017 (Gennett/Paramount), 1923-1924, c1992. “Dippermouth Blues” and “I’m Going Away to Wear You Off My Mind” (1923) with Oliver, Armstrong, Johnny Dodds, Honore Dutrey, and Baby Dodds; “Cakewalking Babies from Home” (1924) with Armstrong, Sidney Bechet, Lil Hardin, and Charlie Irvis. see ANTHOLOGIES - Ken Burns JAZZ and Smithsonian Collection of Classic Jazz

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ORIGINAL DIXIELAND JAZZ BAND + The 75th Anniversary. RCA Bluebird: 61098 (Victor), 1917-1921, c1992. Usually considered the first recordings of jazz; sessions feature Nick LaRocca, Larry Shields, Eddie Edwards, Henry Ragas, and Tony Sbarbaro: “Dixie Jazz Band One-Step,” “Livery Stable Blues” (1917); “Tiger Rag,” “Clarinet Marmalade” (1918); “Margie” (1920), “Home Again Blues (1921), and others. see ANTHOLOGIES - An Experiment in Modern Music, Ken Burns JAZZ, and Ragtime EDDIE PALMIERI, 1936- (Piano/Bandleader) + La Perfecta. Fania: 773 130 255-2 (Alegre), 1966, c2007. The Sun of Latin Music. Music Productions: 6253 (Coco 109), 1973, c1990. Unfinished masterpiece. Music Productions: 6259 (Coco 120), 1975, c1991. Palmas. Elektra Nonesuch: 61649, 1993, c1994. + Vortex. TropiJazz/RMM: 82043, c1996. CHARLIE PARKER, 1920-1955 (Alto Sax) + Charlie Parker: A Studio Chronicle. JSP: 915 (Decca/Dial/Savoy), 5CD set, 1940-48, c2003. * Young Bird. Vols. 1 & 2. Masters of Jazz: 78, 1940-44. * The Complete Birth of the Bebop. Stash: ST-CD-535, 1940-46, c1991. Includes Parker's first known recording: “Honey & Body” (1940) and a 1942 session with Parker on alto plus a guitar; also a 1943 jam session with Dizzy Gillespie, Oscar Pettiford, and Parker on tenor sax, made in the hotel room of Billy Eckstine's valet, Robert Redcross: “Sweet Georgia Brown,” “Three Guesses,” “Boogie Woogie.” These performances are among the most valuable on record for documenting formative Parker, and, because they are on tenor, clarifying his Lester Young and Coleman Hawkins roots. * Early Bird. Stash: ST-CD-542 (Onyx 221/Spotlite 120), 1940-44, c1991. 1940 Wichita transcriptions with Bernard Anderson, Orville Minor, Bud Gould, Jay McShann, Gene Ramey, and Gus Johnson: “I Found a New Baby,” “Body and Soul,” “Moten Swing,” “Coquette,” “Lady Be Good,” “Wichita Blues,” and “Honeysuckle Rose”; “Cherokee” (1942) by Parker with an unidentified rhythm section; 1942 broadcast from the Savoy Ballroom with Jay McShann. Ken Burns JAZZ Collection: Charlie Parker. Verve: 549 084-2 (Decca/Guild/Savoy/Dial/Verve), 1941-54, c2000.

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* Yardbird Suite: The Ultimate Charlie Parker Collection. Rhino: 72260 (Savoy/Dial/Mercury/Clef), 2CD set, 1945-54, c1997. Dial, Savoy, Verve, and live recordings including “Groovin’ High,” “Salt Peanuts,” “Shaw Nuff,” “Hot House,” “Now’s the Time,” “Ko Ko,” “Moose the Mooche,” “Yardbird Suite,” “Ornithology,” “Cool Blues,” “Relaxin’ at Camarillo,” “Donna Lee,” “Dewey Square,” “Embraceable You,” “Klactoveesedstene,” “Parker’s Mood,” “Bloomdido,” “Star Eyes,” “Confirmation,” and others. The Complete Savoy and Dial Studio Sessions 1944-1948. Savoy Jazz: 92911, 8CD set, 1944-48, c2000. Savoy: with Tiny Grimes, Clyde Hart, etc. (1944): “Tiny's Tempo” and “Red Cross”; with Miles Davis, Dizzy Gillespie, Argonne Thornton, Curly Russell, and Max Roach (1945): “Billie's Bounce,” “Now's the Time,” and “Ko Ko”; with Davis, Bud Powell, Tommy Potter, and Roach (1947): “Donna Lee” and “Cheryl”; with Davis, John Lewis, Nelson Boyd, and Roach (1947): “Half Nelson” and “Sippin' at Bells”; with Davis, Duke Jordan, Potter, and Roach (1947): “Blue Bird” and “Bird Gets the Worm”; with Davis, Lewis, Russell, and Roach (1948): “Barbados,” “Parker's Mood,” and others. Dial: with Dizzy Gillespie, Lucky Thompson, etc. (1946): “Diggin' Diz”; with Miles Davis, Lucky Thompson, Dodo Marmarosa, etc. (1946): “Moose The Mooch,” “Yardbird Suite,” “Ornithology,” and “Night in Tunisia”; with Howard McGhee, etc. (1946): “Lover Man”; with Erroll Garner, etc. (1947): “This Is Always”, “Cool Blues”, and “Bird's Nest”; with McGhee, Wardell Gray, Marmarosa, etc. (1947): “Relaxin' at Camarillo” and “Cheers”; with Davis, Duke Jordan, Tommy Potter, and Max Roach (1947): “Dexterity,” “Bird of Paradise,” “Embraceable You,” “Dewey Square,” “Klactoveesedstene,” “Crazeology,” and others. Also includes 1945 Guild recordings with Dizzy Gillespie: “Groovin’ High,” “All the Things You Are,” “Salt Peanuts,” “Shaw ‘Nuff,” and “Hot House.” The Complete Savoy & Dial Master Takes. Savoy Jazz: 17149, 3CD set, 1944-48, c2002. Best of the Complete Savoy & Dial Studio Recordings. Savoy Jazz: 17120, 1944-48, c2002. Includes “Tiny’s Tempo,” “Koko,” “Moose the Mooche,” “Yardbird Suite,” “Ornithology,” “Night in Tunisia,” “Cool Blues,” “Relaxin’ at Camarillo,” “Cheryl,” “Embraceable You,” “Crazeology,” “Blue Bird,” “Parker’s Mood,” and others. Charlie Parker & Dizzy Gillespie: Diz ‘n Bird at Carnegie Hall. Blue Note: 57061, 1947, c1997. The Complete Live Performances on Savoy. Savoy Jazz: 17021/24, 4CD set, 1947-50, c1998. The above two include a 1947 live version of “Groovin’ High”. Bird/The Complete Charlie Parker On Verve. Verve: 837 141-2 (Mercury/Clef), 10CD set, 1946-54, c1988. The Complete Verve Master Takes. Verve: 440 065 597-2, 3CD set, 1947-53, c2003.

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Confirmation: Best of the Verve Years. Verve: 314 527 815-2, 2CD set, 1946-53, c1995. Includes “April in Paris” and “Just Friends” with strings; “Star Eyes” with Hank Jones; and “Bloomdido” with Gillespie, Monk, and Buddy Rich. + Charlie Parker: Jazz at the Philharmonic 1949. Verve: 314 519 803-2, 1949, c1993. Includes Ella Fitzgerald performances of “How High the Moon,” “Perdido,” and “Flying Home.” + Swedish Schnapps. Verve: 849 393-2 (MGV 8010), 1949-51, c1991. Charlie Parker with Strings: The Master Takes. Verve: 314 523 984-2, 1949-52, c1995. Includes “April in Paris,” “Just Friends,” “Summertime,” and others. Bird and Diz. Verve: 314 521 436-2 (MGV 8006), 1950, c1997. With Dizzy Gillespie, Thelonious Monk, and Buddy Rich; includes “Bloomdido” and “Relaxin' with Lee.” * Now's the Time. Verve: 825 671-2 (MGV 8005), 1952-53, c1985. With Al Haig and Max Roach; includes “Now’s the Time” and “Confirmation.” Jazz at Massey Hall. Fantasy: OJC-044 (Debut 124), 1953, c1989. Concert with Dizzy Gillespie, Bud Powell, Charles Mingus, and Max Roach. see DIZZY GILLESPIE - Groovin’ High and Town Hall 1945 see ANTHOLOGIES - Bebop, Ken Burns JAZZ, and Smithsonian Collection of Classic Jazz MACEO PARKER, 1943- (Saxophone) + Roots Revisited. Verve: 843 751-2, c1990. WILLIAM PARKER, 1952- (Bass) In Order to Survive. Black Saint: 120 159-2, 1993, c1995. BUD POWELL, 1924-1966 (Piano) * The Complete Blue Note and Roost Recordings. Blue Note: 30083, 4CD set, 1947-63, c1994. * The Bud Powell Trio Plays. Roulette: 93902 (Roost 2224), 1947, c1990. “Nice Work If You Can Get It” and “Somebody Loves Me” with Curly Russell and Max Roach.

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The Amazing Bud Powell. Vols. 1 & 2. Blue Note: 32136/32137 (1503/1504), 2CDs, 1949-53, c2001. With Max Roach, Sonny Rollins, Fats Navarro, Tommy Potter, and Roy Haynes: “Un Poco Loco,” “Bouncing with Bud,” “Night in Tunisia,” “Dance of the Infidels,” “Parisian Thoroughfare,” and “Polka Dots and Moonbeams.” + The Complete Bud Powell on Verve. Verve: 314 521 669-2, 5CD set, 1949-56, c1994. + Jazz Giant. Verve: 314 543 832-2 (MGV 8153), 1949-50, c2001. With Ray Brown, Curly Russell, Max Roach: “Get Happy,” “Tempus Fugit,”and “Celia.” + The Genius of Bud Powell. Verve: 827 901-2 (V 8115), 1950-51, c1988. “Hallucinations,” “Tea for Two,” and others. see DEXTER GORDON - Settin’ the Pace see CHARLIE PARKER - Savoy recordings and Jazz at Massey Hall see ANTHOLOGIES - Bebop, The Bebop Revolution, Jazz Piano, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz TITO PUENTE, 1923-2000 (Timbales/Vibraphone/Bandleader) The Essential Tito Puente. RCA/Legacy: 69243, 2CD set, 1949-62, c2005. Mambo Diablo. Concord Picante: 4283, 1985, c1985. Royal T. Concord Picante: 4553, 1993, c1993. Special Delivery. Concord Picante: 4732, 1996, c1996. SONNY ROLLINS, 1929- (Tenor Sax) Ken Burns JAZZ Collection: Sonny Rollins. Verve: 549 091-2, 1954-66, c2000. Sonny Rollins: The Complete Prestige Recordings. Prestige: 4407, 7CD set, 1949-56, c1992. Sonny Rollins Plus 4. Prestige: 30159 (P-7038), 1956, c2007. With Clifford Brown, Richie Powell, George Morrow, and Max Roach: “Pent-Up House,” “Kiss and Run,” and “Valse Hot”; Rollins has said that this is some of his best playing on record. Saxophone Colossus. Prestige/Concord: 8105 (P-7079), 1956, c2006. With Tommy Flanagan and Max Roach: “Blue Seven,” “St. Thomas,” “You Don’t Know What Love Is,” and others. Way Out West. Contemporary: 31993 (C-7530), 1957, c2010. With Ray Brown and Shelly Manne.

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A Night at the Village Vanguard. Vols. 1 & 2. Blue Note: 99795 (1581), 2CD set, 1957, c1999. With Wilbur Ware and Elvin Jones: “A Night in Tunisia,” “I'll Remember April,” and others; the set includes all the material on Blue Note 1581 and More from the Vanguard (Blue Note 475). + The Complete RCA Victor Recordings. Victor Jazz: 68675, 6CD set, 1962-65, c1997. Includes The Bridge and Our Man in Jazz. + The Bridge. RCA: 52472, (LSP-2527), 1962, c2003. With Jim Hall. (import available) + Our Man in Jazz. RCA Victor: 74321851602 (LSP-2612), 1962, c2003. Our Man in Jazz. RCA/Japan: BVCJ-37211 (LSP-2612), 1962, c2005. (import) Live with Don Cherry, Henry Grimes, and Ed Blackwell. see CLIFFORD BROWN - At Basin Street see MILES DAVIS - Dig, Collector's Items, and Bag's Groove see DIZZY GILLESPIE - Duets and Sonny Side Up see BUD POWELL - Amazing Bud Powell see ANTHOLOGIES - Ken Burns JAZZ, Nica's Dream, and The Smithsonian Collection of Classic Jazz ROYAL CROWN REVUE (Swing revival group) Mugsy’s Move. Warner Bros.: 46125, c1996. DAVID SANBORN, 1945- (Alto Sax) Straight to the Heart. Warner Bros.: 25150, c1984. Upfront. Elektra: 61272, 1991, c1992. see BOB JAMES - Double Vision ARTURO SANDOVAL, 1949- (Trumpet) Tumbaito. Messidor: 15974, 1986, c1992. Jam Miami: A Celebration of Latin Jazz. Concord Picante: 4899, 2000, c2000. With Chick Corea, Claudio Roditi, Poncho Sanchez, and others. see IRAKERE - Best of… SCHNEIDER, MARIA, 1960- (Bandleader) Evanescence. ArtistShare: 0006 (ENJA 8048), 1992, c2005. Coming About. ArtistShare: 0087 (ENJA 9069), 1995, c2008. Allégresse. ArtistShare: 0005 (ENJA 9393), 2000, c2005.

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Days of Wine and Roses: Live at the Jazz Standard. ArtistShare: 0017, 2000, c2005. Concert in the Garden. ArtistShare: 0001, 2001-04, c2004. BRIAN SETZER, 1959- (Swing revival guitarist-bandleader) The Dirty Boogie. Interscope: 90183, c1998. WAYNE SHORTER, 1933- (Soprano Sax/Tenor Sax) Night Dreamer. Blue Note: 64467 (84173), 1964, c2005. With Lee Morgan, McCoy Tyner, Reggie Workman, and Elvin Jones; all tunes composed by Shorter: “Night Dreamer,” “Oriental Folk Song,” “Virgo,” “Black Nile,” “Charcoal Blues,” “Armageddon,” and “House of Jade.” Speak No Evil. Blue Note: 99001 (84194), 1964, c1999. With Freddie Hubbard, Herbie Hancock, Ron Carter, and Elvin Jones; all tunes composed by Shorter: “Witch Hunt,” “Fee Fi Fo Fum,” “Dance Cadaverous,” “Speak No Evil,” “Infant Eyes,” and “Wild Flower.” Super Nova. Blue Note: 84332, 1969, c1988. With John McLaughlin, Chick Corea, Jack DeJohnette, and others. Native Dancer. Columbia/Legacy: 46159, 1975, c1990. With Milton Nascimento.

Sbme Special Mkts.

Beyond the Sound Barrier. Verve: B0004518-02, 2002-04, c2005. With Danilo Perez, John Patitucci, and Brian Blade. see ART BLAKEY - Mosaic, Three Blind Mice, Caravan, Ugetsu, and Indestructible see MILES DAVIS - Miles in Berlin, Miles Davis Quintet 1965-1968: The Complete Columbia Studio Recordings, E.S.P., Plugged Nickel, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, Filles de Kilimanjaro, In a Silent Way, and Bitches Brew see WEATHER REPORT see JOE ZAWINUL - Zawinul HORACE SILVER, 1928- (Piano) Horace Silver and The Jazz Messengers. Blue Note: 64478 (81518), 1954, c2005. With Kenny Dorham, Hank Mobley, and Art Blakey: “Doodlin',” “The Preacher,” “Stop Time,” and others. Six Pieces of Silver. Blue Note: 25648 (81539), 1956, c2000. Includes “Senor Blues.” Further Explorations. Blue Note: 14379 (1589), 1958, c2008. With Art Farmer, Clifford Jordan, and Louis Hayes; includes “Moon Rays.”

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Finger Poppin'. Blue Note: 42304 (84008), 1959, c2003. With Blue Mitchell, Junior Cook, Gene Taylor, and Louis Hayes: “Finger Poppin',” “Cookin' at the Continental,” “Mellow D,” and others. Blowin' the Blues Away. Blue Note: 95342 (84017), 1959, c1999. With Mitchell and Cook: “Sister Sadie,” “Peace,” and others. Horace-Scope. Blue Note: 37775 (84042), 1960, c2006. With Blue Mitchell and Junior Cook. Song for My Father. Blue Note: 99002 (84185), 1964, c1999. With Carmell Jones, Joe Henderson: “Song for My Father,” “The Kicker,” etc. Cape Verdean Blues. Blue Note: 90839 (84220), 1965, c2004. With Joe Henderson, Woody Shaw and J. J. Johnson. + In Pursuit of the 27th Man. Blue Note: 35758 (BN-LA054-F), 1972, c2002. With Randy Brecker, Michael Brecker, David Friedman, Bob Cranshaw, and Mickey Roker: “Liberated Brothers,” “Kathy,” “Gregory Is Here,” “Summer in Central Park,” “Nothin' Can Stop Me Now,” “In Pursuit of the 27th Man,” and “Strange Vibes”; included because it contains the best recorded solos of the Brecker Brothers; it also displays delightful Silver writing, and, on some tunes, an unusual format for Silver: vibraphone, piano, bass and drums. see ART BLAKEY - A Night at Birdland and Jazz Messenger see MILES DAVIS - Walkin' and Bag's Groove see ANTHOLOGIES - Bebop, Jazz Piano, Ken Burns JAZZ, Nica's Dream, and Smithsonian Collection of Classic Jazz (revised) BESSIE SMITH, 1894-1937 (Blues Singer) Bessie Smith: Queen of the Blues, Vol. 1. JSP: 929 (Columbia), 4CD set, 1923-26, c2006. Bessie Smith: Empress of the Blues, Vol. 2. JSP: 930 (Columbia), 4CD set, 1926-33, c2007. The Essential Bessie Smith. Columbia/Legacy: C2K 64922, 2CD set. 1923-33, c1997. Bessie Smith: The Complete Recordings. Vol. 3. Frog: DGF42 (Columbia), 1924-25, c2001. (import) + The Complete Recordings. Vol. 2. Columbia/Legacy: C2K 47471, 2CD set, 1924-25, c1991. Includes selections with accompaniment by Louis Armstrong: “Sobbin’ Hearted Blues” and “St. Louis Blues” (1925). Bessie Smith: The Complete Recordings. Vol. 5. Frog: DGF44 (Columbia), 1926-27, c2001. (import) + The Complete Recordings. Vol. 3. Columbia/Legacy: C2K 47474, 2CD set, 1925-28, c1992. Includes “Lost Your Head Blues” (1926) with Joe Smith. Note: The releases on Frog have superior sound quality.

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CHRIS SPEED, 1967- (Tenor Sax, Clarinet) Deviantics. Songlines: 1524, 1998, c1999. ART TATUM, 1909-1956 (Piano) Piano Starts Here. Columbia/Legacy: 64690 (CL2565), 1933, 1949, c1995. Sbme. Includes “Tea for Two,” “Humoresque,” “Tiger Rag,” “St. Louis Blues,” “Willow Weep for Me,” “The Man I Love,” “Yesterdays,” and others. + Classic Early Solos. Decca Jazz/GRP: 607, 1934-37, c1991. (import available) + I Got Rhythm. Vol. 3. Decca Jazz/GRP: 630 (Brunswick), 1935-44, c1993. With Tiny Grimes and Slam Stewart; includes amazing 1944 versions of “I Got Rhythm” and “Tea for Two,” plus “Deep Purple,” “Cocktails for Two,” and others. * Pieces of Eight. Smithsonian: 2029, LP, 1939-55, c1981. * Art Tatum: Solos (1940). Decca Jazz/MCA: 42327, 1940, c1990. The Complete Capitol Recordings of Art Tatum. Capitol Jazz: 21325, 2CD set, 1949-52, c1997. Vol. 1 includes “Willow Weep for Me” and “Aunt Hagar's Blues.” Art Tatum: 20th Century Piano Genius. Verve: 314 531 763-2, 2CD set, 1950, 1955, c1996. Include “Too Marvelous for Words.” Tatum Group Masterpieces. Vol. 8. Pablo: 2405-431 (Verve MGV 8220), 1956, c1990. Ballads by Ben Webster, Tatum, Red Callender, and Bill Douglass: “All the Things You Are,” “Where or When,” “My One and Only Love,” and others. see ANTHOLOGIES - Jazz Piano, Ken Burns JAZZ, and The Smithsonian Collection Of Classic Jazz CECIL TAYLOR, 1933- (Piano) Jazz Advance. Blue Note: 84462 (Transition), 1955, c1991. With Steve Lacy, Buell Neidlinger, and Dennis Charles: “Bemsha Swing,” “Charge 'Em Blues,” “Azure,” “Song,” “You'd Be So Nice to Come Home To,” “Rick Kick Shaw,” and “Sweet and Lovely.” + Gigi Gryce-Donald Byrd Jazz Laboratory/Cecil Taylor Quartet: At Newport. Verve: 314 589 764-2 (MGV 8238), 1957, c2003. Taylor quartet with Steve Lacy, Buell Neidlinger, and Dennis Charles: “Johnny Come Lately,” “Nona’s Blues,” and “Tune.”

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+ Love for Sale. Blue Note: 94107 (UA 4046), 1959, c1998. Session with Ted Curson, Bill Barron, Chris White, and Rudy Collins: “Get Out of Town,” “Carol/Three Points,” “Love for Sale,” “Little Lees,” and “I Love Paris.” Looking Ahead! Fantasy: OJC-452 (Contemporary 7562), 1958, c1990. Quartet session with vibes. * The Complete Cecil Taylor/Buell Neidlinger Candid Sessions. Mosaic: MD4-127, 4CD set, 1960-61, c1989. The World of Cecil Taylor. Candid: 79006 (8006), 1960, c1992. With Archie Shepp, Buell Neidlinger, and Dennis Charles: “Air,” “This Nearly Was Mine,” “Port of Call,” “Eb,” and “Lazy Afternoon.” * Nefertiti, the Beautiful One Has Come. Revenant: 202 (Debut), 2CD set, 1962, c1997. With Jimmy Lyons and Sunny Murray; includes “Trance.” Unit Structures. Blue Note: 84237, 1966, c1987. With Eddie Gale Stevens, Jr., Jimmy Lyons, Ken McIntyre, Henry Grimes, Alan Silva, and Andrew Cyrille. Conquistador. Blue Note: 90840 (84260), 1966, c2004. With Bill Dixon, Jimmy Lyons, and Andrew Cyrille; includes “Enter Evening.” + Silent Tongues. 1201 Music: 9017 (Arista/Freedom 1005), 1974, c2000. Unaccompanied piano improvisations recorded live at the Montreux Jazz Festival: “Abyss,” “Petals and Filaments,” and “Jitney #2.” * Fly, Fly, Fly. Pausa: 7108 (MPS), LP, 1980, c1981. Solo piano. see ANTHOLOGIES - Ken Burns JAZZ , Smithsonian Collection of Classic Jazz CLAUDE THORNHILL, 1909-1965 (Piano/Big Band) Claude Thornhill and His Orchestra Play the Great Jazz Arrangements of Gil Evans, Gerry Mulligan, and Ralph Aldrich. Fresh Sounds: 365 (Columbia), 1942-53, c2004. * The Memorable Claude Thornhill. Columbia: 32906, 2LP set, 1941-47, c1975. Featuring Lee Konitz: “Snowfall,” “Hungarian Dance #5,” “Traumerai,” “Portrait of a Guinea Farm,” “Where or When,” “Night and Day,” “Grieg's Piano Concerto,” “I Don't Know Why,” “Moonlight Bay,” “Buster's Last Stand,” “Moments Like This,” “A Sunday Kind of Love,” “Warsaw Concerto,” “Robbin's Nest,” “Lover Man,” “For Heaven's Sake”; and the following Gil Evans arrangements: “There's a Small Hotel,” “Anthropology,” “Yardbird Suite,” and “Donna Lee.” * Best of the Big Bands: Claude Thornhill. Columbia: 46152, 1941-47, c1990. see ANTHOLOGIES - The Bebop Era, Big Band Jazz, and Jazz in Revolution

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LENNIE TRISTANO, 1919-1978 (Piano) Intuition. Capitol Jazz: 52771 (11060), 1949, 1956, c1996. With Tristano, Lee Konitz, Warne Marsh, Billy Bauer, and others (1949): “Wow,” “Crosscurrent,” “Yesterdays,” “Marionette,” “Sax of a Kind,” “Intuition,” and “Digression”; balance of CD is a 1956 Warne Marsh session. Abstraction & Improvisation. Five/Four: 18, 1946-55, Includes “Descent into the Maelstrom” (1953).

c2007. (import)

* The Complete Atlantic Recordings of Lennie Tristano, Lee Konitz & Warne Marsh. Mosaic: MD6-174, 6CD set, 1955-61, c1997. + Lennie Tristano/The New Tristano. Rhino: 71595 (Atlantic 1224/1357), 1955, 1961, c1994. Includes “Line Up” and “Turkish Mambo.” see LEE KONITZ - Subconscious Lee see ANTHOLOGIES - The Bebop Era, Jazz Piano, Mirage, and The Smithsonian Collection of Classic Jazz MCCOY TYNER, 1938- (Piano) see JOHN COLTRANE - most Atlantic and Impulse! recordings see WAYNE SHORTER - Night Dreamer see ANTHOLOGIES - Jazz Piano US3 (Acid Jazz Group) Hand on the Torch. Blue Note: 80883, c1993. SARAH VAUGHAN, 1924-1990 (Singer) Ken Burns JAZZ Collection: Sarah Vaughan. Verve: 549 088-2, 1944-74, c2000. Young Sassy. Proper: PROPER BOX 27 (Continental/Musicraft/Columbia/MGM), 4CD set, 1944-50, c2001. (import) + Tenderly. Musicraft: 70057, 1946-48, c1988. Includes “You’re Not the Kind” with Freddie Webster on trumpet. Sarah Vaughan [with Clifford Brown]. Emarcy: 543 305-2 (MG 36004), 1954, c2000. Includes “You’re Not the Kind.” + Sarah Vaughan with Michel Legrand. Mainstream: 703 (361), 1972, c1990. Includes “What Are You Doing the Rest of Your Life” and “The Summer Knows.” * Live in Japan. Mainstream/Legacy: J2K 57123 (2401), 2CD set, 1973, c1991. Includes “My Funny Valentine.”

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JUNIOR WALKER, 1931-1995 (Tenor Sax) Shotgun. Motown: 314 530 245 (Soul 701), 1965, c2001. The Ultimate Collection. Motown: 314 530 828 (Soul), 1962-96, c1997. FATS WALLER, 1904-1943 (Piano) * The Fats Waller Piano Solos: Turn on the Heat. RCA Bluebird: 2482 (Victor), 2CD set, 1927-41, c1991. “Numb Fumblin’,” “Valentine Stomp,” and “Ain’t Misbehavin” (1929), “I Ain’t Got Nobody” (1937), and “Honesuckle Rose” (1941). see ANTHOLOGIES - Jazz Piano and Smithsonian Collection of Classic Jazz GROVER WASHINGTON, JR., 1943-2000 (Saxophone) Mister Magic. Motown: 530 103 (Kudu 20), 1974, c1995. Winelight. Elektra: 305, 1980, c1980. WEATHER REPORT (Fusion Group) Forecast: Tomorrow. Columbia/Legacy: 85570, 3CD set + 1 DVD, 1969-85, c2006. Includes tracks by Miles Davis, Wayne Shorter, and Cannonball Adderley. Weather Report. Columbia: 48824 (30661), 1971, c1992. Sbme Special Mkts. Includes “Seventh Arrow,” “Umbrellas,” “Waterfall,” and “Eurydice.” I Sing the Body Electric. Columbia: 46107 (31352), 1971-72, c1990. Includes edited live performance by Joe Zawinul, Wayne Shorter, Miroslav Vitous, Eric Gravatt, and Dom Um Romao: “Vertical Invader,” “T.H.,” “Dr. Honoris Causa,” “Surucucu,” and “Directions”; also includes studio date with added singers, English horn (Andrew White), flute, trumpet, and 12-string guitar: “Unknown Soldier,” “The Moors,” “Crystal,” and “Second Sunday in August.” Live in Tokyo. CBS: 489208 2, 2CD set, 1972, c1997.

(import)

Sweetnighter. Columbia/Legacy: 64976 (32210), 1973, c1996. Sbme Special Mkts. th Includes “Boogie Woogie Waltz,” “125 St. Congress,” “Manolete,” and “Non-Stop Home.” Mysterious Traveller. Columbia/Legacy: 65112 (32494), 1974, c2002. Includes “Jungle Book” and “Blackthorn Rose.” Tale Spinnin'. Columbia/Legacy: 65110 (33417), 1975, c2002. Includes “Badia,” “Man in the Green Shirt,” and “Five Short Stories.” Black Market. Columbia/Legacy: 65169 (34099), 1976, c2002. Includes “Three Clowns” and “Barbary Coast.”

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Heavy Weather. Columbia/Legacy: 65108 (34418), 1977, c1997. Includes “Birdland,” “Teen Town,” “The Juggler,” “Palladium,” “Harlequin,” and “Havona.” Mr. Gone. Columbia/Legacy: 46869 (35358), 1978, c1991. Includes “River People” and “Punk Jazz.”

Sbme Special Mkts.

8:30. Columbia/Legacy: 57665 (PC2 36030), 1979, c1994. Includes “The Orphan.”

Sbme Special Mkts.

Night Passage. Columbia: 36793, c1980. Sbme Special Mkts. Includes “Port of Entry,” “Dream Clock,” and “Three Views of a Secret.” Weather Report. Columbia: 37616, 1981, c1987. Sbme Special Mkts. Includes “Crazy About Jazz” and “Dara Factor One.” MARY LOU WILLIAMS, 1910-1981 (Piano/Arranger) * Mary Lou Williams 1927-1940. Classics: 630 (Brunswick/Decca/Varsity), 1927-40, c1992. * Mary Lou Williams 1944. Classics: 814 (Asch/V-Disc), 1944, c1995. * Mary Lou Williams 1944-1945. Classics: 1021 (Asch), 1944-45, c1998. Includes “The Zodiac Suite.” The Asch Recordings. Folkways: 2966 (Asch), 2CD set, 1944-47. + Nite Life. Chiaruscuro: 103, 2CD set, 1971, c1998. see ANDY KIRK TONY WILLIAMS, 1945-1997 (Drums) Emergency! Verve: 314 539 117-2 (Polydor 25-3001), 1969, c1997. + Spectrum: The Anthology. Verve: 537 075-2 (VE2-2541), 2CD set, 1969-73, c1997. With John McLaughlin and Larry Young. see MILES DAVIS - Seven Steps to Heaven, In Europe, My Funny Valentine, Four and More, Miles in Berlin, Miles Davis Quintet 1965-1968: The Complete Columbia Studio Recordings, E.S.P., Plugged Nickel, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, Filles de Kilimanjaro, and In a Silent Way see HERBIE HANCOCK - Empyrean Isles and Maiden Voyage

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LESTER YOUNG, 1909-1959 (Tenor Sax) + Ken Burns JAZZ Collection: Lester Young. Verve: 549 082-2 (Columbia/Decca/Keynote/Aladdin/Verve), 1936-57, c2000. + The “Kansas City” Sessions. Commodore/GRP: 402, 1938, 1944, c1997. Selections feature Young (on clarinet and tenor saxophone), Buck Clayton, Eddie Durham, Freddie Green, Walter Page, and Jo Jones: “Way Down Yonder in New Orleans,” “I Want a Little Girl,” “Countless Blues,” and “Pagin' the Devil” (1938); plus “Good Mornin’ Blues” without Young. + The Complete Aladdin Sessions. Blue Note: 32787, 2CD set, 1942-48, c1995. Includes “D.B. Blues” (1945). see COUNT BASIE - Complete Decca Recordings, Best of Early Basie, and America’s #1 Band see BILLIE HOLIDAY - Lady Day and A Musical Romance see ANTHOLOGIES - Classic Tenors, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz JOE ZAWINUL, 1932-2007 (Keyboards) Zawinul. Mosaic Contemporary: 5006 (Atlantic 1579), 1970, c2007. (mail order) With Wayne Shorter, Earl Turbinton, Woody Shaw, George Davis, Hubert Laws, Herbie Hancock, Miroslav Vitous, Walter Booker, Jack DeJohnette, Joe Chambers, Billy Hart, and David Lee: “Doctor Honoris Causa,” “In a Silent Way,” “Double Image,” and “Arrival in New York”; this recording displays some of Zawinul's best composing and arranging. see CANNONBALL ADDERLEY - Cannonball in Europe and Mercy, Mercy, Mercy see MILES DAVIS - In a Silent Way and Bitches Brew see WEATHER REPORT See ANTHOLOGIES - Ken Burns JAZZ JOHN ZORN, 1953- (Alto Sax) Masada Live in Jerusalem 1994. Tzadik: 7322, 1994, c1999. Masada Live in Middelheim 1999. Tzadik: 7326, 1999, c1999. Both with Dave Douglas.

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ANTHOLOGIES (Alphabetically By Title) * African Journey: A Search for the Roots of the Blues. Sonet: SNTF 667 (Vanguard 73014/15), 1974. (import) Recorded by Samuel Charters in Gambia, Senegal, Mali, Ghana, and Togo. An Anthology of Big Band Swing. Decca Jazz/GRP: GRD2-629, 2CD set, 1930-55, c1993. Includes Duke Ellington, Fletcher Henderson, Jimmie Lunceford, Count Basie, Benny Carter, Jay McShann, Roy Eldridge, and others. * Bebop. New World: 271, LP, 1945-56, c1976. “Parker's Mood,” “Relaxin' at Camarillo,” “Ko-Ko,” and “Embraceable You” by Charlie Parker; “Things to Come” by Dizzy Gillespie's big band; “Un Poco Loco” by Bud Powell; “Jahbero” by Tadd Dameron with Fats Navarro; “Misterioso” by Thelonious Monk; “What is This Thing Called Love” by Clifford Brown and Max Roach; “Stop Time” by Horace Silver; “You’re Not the Kind” by Sarah Vaughan, and others. * The Bebop Era. Columbia: 40972, 1942-51, c1987. Gil Evans' arrangements for Claude Thornhill of “Yardbird Suite” and “Donna Lee” (1947); and “No Figs” by the Metronome All Stars with Stan Getz and Lennie Tristano (1950). * The Bebop Revolution. RCA Bluebird: 2177, 1946-49, c1990. Dizzy Gillespie combo (1946) and big band (1947-49); and Kenny Clarke and His 52nd Street Boys with Fats Navarro, Sonny Stitt, and Bud Powell (1946). Bernstein Century: Bernstein on Jazz [What Is Jazz?]. Sony: SMK 60566 (Columbia CL 919), 1956, c1998. This presentation remains the single most effective tool for explaining the principles and concepts underlying jazz, as well as for comparing different styles of jazz. With his typical clarity, humor, and eclecticism, Leonard Bernstein provides definitions and musical examples for mutes, vibraphone, cymbals, cow bell, maracas, bongo drums, jazz shading of tone, syncopation, blue notes, vibrato, improvisation, instrumental break, collective improvisation, 12-bar blues form, AA-B-A form, theme and variations, etc. He is assisted by an all-star set of jazz musicians including Louis Armstrong, Bessie Smith, Miles Davis, Buck Clayton, Buster Bailey, John Coltrane, Teo Macero, Turk Murphy, and Coleman Hawkins. He also compares jazz styles by offering different renditions of “Sweet Sue.” The Best of Ken Burns JAZZ. Sony/Legacy: 61439, 1926-92, c2000. Includes Jelly Roll Morton, Sidney Bechet, Louis Armstrong, Bix Beiderbecke, Duke Ellington, Fletcher Henderson, Benny Goodman, Artie Shaw, Count Basie, Billie Holiday, Dizzy Gillespie, Thelonious Monk, Sarah Vaughan, Dave Brubeck, Horace Silver, John Coltrane, and Miles Davis.

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* Big Band Jazz: From the Beginnings to the Fifties. Smithsonian: RJ0001 (2202), 4CD set, 1924-56, c1983. FLETCHER HENDERSON – “Copenhagen,” “Henderson Stomp,” “Hop Off,” “New King Porter Stomp,” and “Down South Camp Meetin'.” JIMMIE LUNCEFORD – “Mood Indigo,” “Stratosphere,” “Stomp It Off,” “Organ Grinder's Swing,” and “Uptown Blues.” BENNY GOODMAN – “Sometimes I'm Happy,” “King Porter Stomp,” “Sing, Sing, Sing,” “Ridin' High,” and “Mission to Moscow.” TOMMY DORSEY – “Song of India,” “Well Git It,” “On the Sunny Side of the Street,” and “Opus Number One.” COUNT BASIE – “One O'Clock Jump,” “Sent for You Yesterday,” “Jumpin' at the Woodside,” “Volcano,” “9:20 Special,” and “Shiny Stockings.” ARTIE SHAW – “Begin the Beguine,” “Rose Room,” and “Star Dust.” BENNY CARTER – “Shufflebug Shuffle.” DUKE ELLINGTON – “A Gypsy Without a Song,” “Take the 'A' Train,” “Just A-Settin' and A-Rockin',” “Perdido,” “C-Jam Blues,” “Main Stem,” and “Happy-Go-Lucky Local.” LIONEL HAMPTON – “Till Tom Special” and “Flying Home.” WOODY HERMAN – “Down Under,” “Apple Honey,” and “Four Brothers.” BILLY ECKSTINE – “Cool Breeze.” DIZZY GILLESPIE – “Our Delight” and “Things to Come.” CLAUDE THORNHILL – “Robbins Nest” and “Donna Lee.” * Big Band Renaissance: The Evolution of the Jazz Orchestra. Smithsonian: RJ0014 (RD108), 5CD set, 1941-89, c1995. Includes Jay McShann, Boyd Raeburn, Duke Ellington, Benny Goodman, Charlie Barnet, Artie Shaw, Count Basie, Woody Herman, Stan Kenton, Sauter-Finegan, Ted Heath, Harry James, Maynard Ferguson, Buddy Rich, Herb Pomeroy, Johnny Richards, Dizzy Gillespie, Terry Gibbs, Gerry Mulligan, Quincy Jones, Gerald Wilson, Thad Jones, Mel Lewis, Duke Pearson, Clare Fischer, John Dankworth, Kenny Clarke, Francy Boland, Don Ellis, Toshiko Akiyoshi, Rob McConnell, Gil Evans, George Russell, Benny Carter, Manny Albam, Henry Mancini, Oliver Nelson, Muhal Richard Abrams, Sun Ra, Charlie Haden, and others. * The Birth of the Cool. Vol. 2. Capitol: 98935, 1951-53, c1992. Gerry Mulligan Tentette (1953): “Walking Shoes,” “Rocker,” and “Flash”; Mulligan considers this session to represent some of his best work; Shorty Rogers and His Giants (1951); and the Metronome All Stars (1951) with Miles Davis, Lee Konitz, Stan Getz, and others. * The Birth of the Third Stream. Columbia/Legacy: 64929 (WL 127/CL 941), 1956-57, c1996. “Revelations” by Charles Mingus; “All about Rosie” by George Russell featuring Bill Evans; “Three Little Feelings” by John Lewis; and “Poem for Brass” by J. J. Johnson. * Black California. Savoy: SVY-0274 (2215), 1945-52, c1995. With Sonny Criss, Wardell Gray, Roy Porter, Harold Land, and Hampton Hawes. * The Blues: A Smithsonian Collection of Classic Blues Singers. Smithsonian: 2550 (RD 101), 4CD set, 1923-85, c1993.

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Breaking Out of New Orleans. JSP: 921, 4CD set, 1922-29, c2004. (import) Original Tuxedo Jass Band, Sam Morgan, Piron’s New Orleans Orchestra, Red Onion Jazz Babies, Ory’s Sunshine Orchestra, Fate Marable, Erskine Tate, Doc Cook, Freddie Keppard, Johnny Dodds, and others. * The Changing Face of Harlem. Savoy: 2208, 2LP set, 1944-45, c1976. Included for Earl Bostic solos which show possible origins of certain Coltrane devices. * The Chicagoans: The Austin High Gang. MCA: 1350 (Decca 9231), LP, 1928-30, c1982. Chicago-style combo recordings featuring Frank Teschemacher: “Prince of Wails” (1929) by Elmer Schoebel and His Friar's Society Orchestra, with Dick Feige, Jack Read, Floyd Towne, Elmer Schoebel, Charlie Berger, John Kuhn, and George Wettling. * Classic Tenors. Signature/CBS: 38446, 1943, c1989. Coleman Hawkins with Eddie Heywood, Oscar Pettiford, and Shelly Manne: “The Man I Love” and “Sweet Lorraine”; Lester Young with Bill Coleman and Dicky Wells: “I Got Rhythm,” and others. Come and Trip It: Instrumental Dance Music, 1780s-1920s. New World: 80293, 1978, c1994. (mail order) * Cuttin' the Boogie. New World: NW 259, LP, 1926-41, c1977. “Pinetop's Boogie Woogie” by Pinetop Smith and “Honky Tonk Train Blues” by Meade Lux Lewis. Early Band Ragtime: Ragtime’s Biggest Hits, 1899-1909. Smithsonian/Folkways: RBF 38, c1979. (mail order) * Early Black Swing: The Birth of Big Band Jazz. RCA Bluebird: 9583, 1927-34, c1989. Fletcher Henderson: “Sugar Foot Stomp”; Bennie Moten: “Moten Swing”; Jimmie Lunceford: “White Heat” and “Swingin' Uptown”; Duke Ellington, Louis Armstrong, Earl Hines, McKinney's Cotton Pickers, Charlie Johnson, and the Missourians. * An Experiment in Modern Music: Paul Whiteman at Aeolian Hall. Smithsonian: 2028, LP, 1919-24, c1981. Includes “Livery Stable Blues” by the Original Dixieland Jazz Band. + The Gospel Sound. Columbia/Legacy: C2K 57160, 2CD set, 1926-68, c1994. Includes “One Day” by the Angelic Gospel Singers and Dixie Hummingbirds.

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The Greatest Jazz Concert in the World. Pablo: 2625-704, 3CD set, 1967, c1992. Concert with the entire Ellington band (“Chromatic Love Affair” featuring Harry Carney; “Swamp Goo” featuring Russell Procope) plus the Oscar Peterson Trio (Sam Jones and Louis Hayes), singer Ella Fitzgerald, and others. Hitsville USA: The Motown Singles Collection. Motown: 374 636 312, 4CD set, 1959-1971, c1992. Marvin Gaye, Supremes (“Reflections,” “Love Child”), Four Tops, Temptations (“Cloud Nine”), Miracles, Gladys Knight & the Pips (“I Heard It Through the Grapevine”), and others. * Jammin' for the Jackpot. New World: NW 217, LP, 1929-41, c1977. Includes 1941 “Ebony Silhouette” featuring Milt Hinton on bass with Cab Calloway. Jazz. Vol. 1, The South. Smithsonian/Folkways: 2801, c1950. Jazz. Vol. 2, The Blues. Smithsonian/Folkways: 2802, 1923-48. Jazz: Some Beginnings. Smithsonian/Folkways: RF 31, 1914-1926, c1977. (mail order) * Jazz in Revolution. New World: NW 284, LP, 1940-49, c1977. Includes “Mingus Fingers” featuring Charles Mingus with the Lionel Hampton band; “Donna Lee” arranged by Gil Evans for the Claude Thornhill band; “The Chase” by Dexter Gordon and Wardell Gray; and “Royal Roost” by Fats Navarro and Kenny Clarke. * Jazz Piano: A Smithsonian Collection. Smithsonian: 7002, 4CD set, 1924-78, c1989. Jelly Roll Morton, James P. Johnson, Willie "The Lion" Smith, Fats Waller, Earl Hines, Teddy Wilson, Meade Lux Lewis, Count Basie, Billy Kyle, Art Tatum, Duke Ellington, Nat King Cole, Erroll Garner, Bud Powell, Lennie Tristano, Dodo Marmarosa, Al Haig, Oscar Peterson, Thelonious Monk, Horace Silver, Herbie Nichols, Hank Jones, Tommy Flanagan, John Lewis, Bill Evans, McCoy Tyner, Chick Corea, Keith Jarrett, and Herbie Hancock, and others. Jazz: The Smithsonian Anthology. Smithsonian Folkways: 40820, 6CD set, c2010. Includes Original Dixieland Jazz Band, King Oliver, Jelly Roll Morton, Bix Beiderbecke, Bessie Smith, Duke Ellington, Louis Armstrong, James P. Johnson, Sidney Bechet, Fats Waller, Billie Holiday, Count Basie, Mary Lou Williams, Coleman Hawkins, Benny Goodman, Art Tatum, Dizzy Gillespie, Dexter Gordon, Bud Powell, Charlie Parker, Thelonious Monk, Lennie Tristano, Miles Davis, Gerry Mulligan, Stan Kenton, Clifford Brown, Modern Jazz Quartet, Horace Silver, Sonny Rollins, Nat King Cole, Stan Getz, J.J. Johnson, Art Blakey, John Coltrane, Charles Mingus, Dave Brubeck, Ornette Coleman, Cannonball Adderley, Sarah Vaughan, Bill Evans, Ella Fitzgerald, Chick Corea, Mahavishnu Orchestra, Herbie Hancock, Cecil Taylor, Weather Report, Keith Jarrett, Irakere, Steve Coleman, Michael Brecker, Tito Puente, Wynton Marsalis, John Zorn, and others.

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* Jive at Five. New World: NW 274, LP, 1927-46, c1976. Includes “Every Tub” and “Jive at Five” by Count Basie; “Passion Flower” by Johnny Hodges; “Pitter Panther Patter” by Duke Ellington and Jimmy Blanton; and “Body and Soul” by Coleman Hawkins. Ken Burns JAZZ: the Story of America’s Music. Sony/Legacy: C5K 61432, 5CD set, 1917-92, c2000. Includes Jim Europe, ODJB, James P. Johnson, King Oliver, Bessie Smith, Jelly Roll Morton, Fletcher Henderson, Louis Armstrong, Duke Ellington, Bix Beiderbecke, Bennie Moten, Jimmie Lunceford, Benny Goodman, Count Basie, Billie Holiday, Art Tatum, Pete Johnson, Chick Webb, Django Reinhardt, Coleman Hawkins, Artie Shaw, Tommy Dorsey, Gene Krupa, Dizzy Gillespie, Charlie Parker, Bud Powell, Thelonious Monk, Miles Davis, Sarah Vaughan, Chet Baker, Gerry Mulligan, Horace Silver, Clifford Brown/Max Roach, Sonny Rollins, Modern Jazz Quartet, Dave Brubeck, John Coltrane, Cecil Taylor, Ornette Coleman, Charles Mingus, Stan Getz, Weather Report, Grover Washington, Herbie Hancock, Dexter Gordon, and others. + Legends of the Blues. Vol. 1. Columbia: 46215, 1925-1965, c1990. * Legends of the Blues. Vol. 2. Columbia: 47467, 1929-1940, c1991. Vol. 1: Bessie Smith, Robert Johnson, Leadbelly, Lonnie Johnson, and others. Vol. 2: Roosevelt Sykes, Tampa Red, Charlie Spand, and others. * Masters of Jazz. Vol. 1. Traditional Jazz Classics. Rhino: 72468, 1923-92, c1996. King Oliver, New Orleans Rhythm Kings, Clarence Williams, Bessie Smith, Jelly Roll Morton, Bix Beiderbecke, Louis Armstrong, Fats Waller, Fletcher Henderson, Benny Goodman, Duke Ellington, Red Nichols, Sidney Bechet, and others. * Masters of Jazz. Vol. 2. Bebop’s Greatest Hits. Rhino: 72469, 1945-54, c1996. Dizzy Gillespie, Charlie Parker, Kenny Clarke, Lester Young, Dexter Gordon, Wardell Gray, Claude Thornhill, Thelonious Monk, Miles Davis, Bud Powell, James Moody, George Shearing, Clifford Brown, Max Roach, and others. * Masters of Jazz. Vol. 3. Big Bands of the ‘30s & ‘40s. Rhino: 72470, 1931-47, c1996. Bennie Moten, Don Redman, Fletcher Henderson, Chick Webb, Jimmie Lunceford, Benny Goodman, Andy Kirk, Count Basie, Erskine Hawkins, Duke Ellington, Earl Hines, Jay McShann, Jimmy Dorsey, Lionel Hampton, Billy Eckstine, and Dizzy Gillespie. * Masters of Jazz. Vol. 4. Big Bands of the ‘50s & ‘60s. Rhino: 72471, 1949-66, c1996. Woody Herman, Lionel Hampton, Duke Ellington, Stan Kenton, Count Basie, Maynard Ferguson, Gerald Wilson, Buddy Rich, Oliver Nelson, and others.

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* Mirage: Avant-Garde and Third-Stream Jazz. New World: NW 216, LP, 1946-61, c1977. Includes “Mirage” (arranged by Pete Rugulo) and “Egdon Heath” (arranged by Bill Russo) performed by the Stan Kenton big band; “Eclipse” by Charles Mingus; “Yesterdays” by Lennie Tristano; and “Concerto for Billy the Kid” by George Russell. * Nica's Dream. New World: NW 242, LP, 1955-64, c1977. “Nica's Dream” by Art Blakey; “Blues March” by the Jazztet; “Original Faubus Fables” by Charles Mingus; Sonny Rollins; and the Modern Jazz Quartet. * The 1930's - The Small Combos. Columbia: 40833, 1930-39, c1987. “Shoe Shine” (1936) by Jones-Smith Inc. (Basie/Lester Young); “Wabash Stomp” (1937) by Roy Eldridge; “Echoes of Harlem” (1938) by Cootie Williams. * The Original Mambo Kings. Verve: 314 513 876-2 (Clef), 1948-54, c1993. With Machito, Mario Bauzá, Charlie Parker, Howard McGhee, and Dizzy Gillespie. * Piano in Style. MCA: 1332, LP, 1926-30, c1980. Includes Pinetop Smith (“Boogie Woogie”), James P. Johnson, and Jelly Roll Morton. * Ragtime: Pianos, Banjos, Saxophones, Cake-Walks, Brass Bands, Jass.... RCA (France): 64122, 2CD set, 1900-1930, c2004. (import) Includes the Sousa Band, Jim Europe's Society Orchestra, Earl Fuller, the Original Dixieland Jazz Band, and others. Riverside History of Classic Jazz. Riverside/Fantasy: 005, 3CD set, ca.1900-1954, c1994. Includes Jelly Roll Morton, “The Pearls” (1923), and “Steady Roll” (1924); New Orleans Rhythm Kings, “Livery Stable Blues” (1922); Louis Armstrong and Sidney Bechet, “Cake Walkin' Babies from Home” (1924); Scott Joplin “The Cascades”; street cries of Charleston (that illustrate Afro-American pitch bending by Southern Negro street vendor); also brass bands, vocal blues, ragtime, black religious music, and numerous selections by early New Orleans and Chicago musicians. * The Roots of the Blues. New World: 80252, 1959, c1981. Field recordings by Alan Lomax. * The Smithsonian Collection of Classic Jazz. revised edition. Smithsonian: RJ0010 (2502), 5CD set, 1916-1981, c1987. Note: Critic-journalist Martin Williams has drawn from the vaults of many record companies to compile an ambitious collection for the Smithsonian Institute. It is an excellent place to find one or more good examples of a particular musician's work without purchasing the albums from which the selections were taken. It would take months, even years, to obtain the selections contained in this collection separately. However, it should not be purchased with the intention of gaining a well-balanced view of jazz history because of the lengthy list of historically significant players and groups omitted: tenor saxophonist Albert Ayler, pianist-composer-bandleader Sun Ra, The Original Dixieland Jazz Band, Stan Kenton's big bands, Woody Herman's big bands, Stan Getz (Smithsonian

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Collection of Classic Jazz (revised) has 8 measures of Getz on a Red Norvo recording of “Body and Soul”), post-1963 John Coltrane, pianist-composer-bandleaders Herbie Hancock, Chick Corea, Keith Jarrett, combos led by composer-baritone saxophonist Gerry Mulligan, the combos of Art Blakey and Horace Silver (SCCJ-R (revised) has one selection by a Silver quintet of 1958), and combos led by Miles Davis during the 1960's and 1970's. There is nothing representing the past 30 years of jazz history, except one selection by the World Saxophone Quartet. Of course, it is not what the collection omits that is important, but what it includes. The following is a partial listing: LOUIS ARMSTRONG - eight selections including “West End Blues” (1928) with Earl Hines; a duet with Hines called “Weather Bird” (1928); “Hotter Than That” (1927) with Johnny Dodds, Kid Ory, Lil Hardin Armstrong, Lonnie Johnson, and Johnny St. Cyr. BIX BEIDERBECKE - “Singin' the Blues” (1927) with Frankie Trumbauer. DON BYAS - “I Got Rhythm” (1945): duet with Slam Stewart. ORNETTE COLEMAN - “Congeniality” and “Lonely Woman” with Don Cherry, and an excerpt from Free Jazz. MILES DAVIS - “Boplicity” (Birth of the Cool, 1949), and “So What”(Kind of Blue, 1959) with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb. DUKE ELLINGTON - eight big band selections including “Concerto for Cootie,” “Harlem Air Shaft,” and “Ko-Ko” (all 1940); SCCJ-R has “Cottontail” (1940) but not “Harlem Airshaft.” ROY ELDRIDGE - big band version of “Rockin' Chair” (1941). DIZZY GILLESPIE - “I Can't Get Started” (1945), and “Shaw 'Nuff” (1945) with Charlie Parker, Al Haig, Curly Russell, and Sid Catlett. BENNY GOODMAN - “Body and Soul” (1935) with Teddy Wilson, and “I Found a New Baby” and “Breakfast Feud” (1941) with Charlie Christian. COLEMAN HAWKINS - the famous “Body and Soul” (1939). FLETCHER HENDERSON - “Stampede” (1926) and “Wrappin' It Up” (1934). JAMES P. JOHNSON - “Carolina Shout” (1921). LEE KONITZ - “Crosscurrent” (1949) with Konitz, Warne Marsh, Billy Bauer, and Lennie Tristano; SCCJ-R substitutes “Subsconsious Lee” with all but Marsh. MEADE LUX LEWIS - the famous “Honky Tonk Train Blues” (1937). JIMMIE LUNCEFORD - “Lunceford Special” (1939); SCCJ-R substitutes “Organ Grinder's Swing” (1936). CHARLES MINGUS - “Hora Decubitus” (1963); SCCJ-R substitutes 1957 “Haitian Fight Song” (1957). THELONIOUS MONK - six selections including “Criss Cross” and “Misterioso” (SCCJ-R contains five Monk selections). JELLY ROLL MORTON - “Black Bottom Stomp,” “Dead Man Blues,” and “Grandpa's Spells” (1926). KING OLIVER - “Dippermouth Blues” (1923) with Johnny Dodds and Louis Armstrong. CHARLIE PARKER - seven selections including two versions of “Embraceable You” (1947), one version of “Parker's Mood” (1948), and one of his fastest performances: “Ko-Ko” (1945); SCCJ-R has eight Parker selections.

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BUD POWELL - “Somebody Loves Me” (1947) with Curly Russell and Max Roach; SCCJ-R substitutes “A Night in Tunisia” (1951). SONNY ROLLINS - “Blue Seven” (1956) with Tommy Flanagan, Doug Watkins, and Max Roach. ART TATUM - “Willow Weep for Me” (1949) and “Too Marvelous for Words” (1956). CECIL TAYLOR - a selection from Unit Structures (1966). FATS WALLER - “I Ain't Got Nobody” (solo piano - 1927). WORLD SAXOPHONE QUARTET - “Steppin'” (1981 - only in revised). LESTER YOUNG - “Lester Leaps In” and “Taxi War Dance” (1939), both with Count Basie. * The Sousa and Pryor Bands: Original Recordings, 1901-1926. New World: NW 282, LP, c1976. * Steppin' On the Gas: Rags to Jazz. New World: NW 269, LP, 1913-1927, c1977. “She's Cryin' for Me Now” (1925) by the New Orleans Rhythm Kings; “Ory's Creole Trombone” and “Society Blues” (1922) by Kid Ory; as well as several nonjazz pieces that cast light on where jazz originated (including 1914 band ragtime by James Reese Europe). Stomp and Swerve: American Music Gets Hot. Archeophone: 1003, 1897-1925, c2003. Includes the Sousa Band, Jim Europe's Society Orchestra, Earl Fuller, the Original Dixieland Jazz Band, and others. * The Story of the Blues. Columbia/Legacy: C2K 86334 (30008), 2CD set, 1928-1968, c2003. Compiled by Paul Oliver. Street Cries & Creole Songs of New Orleans. Folkways: 2202 (FP 602), c1956. (mail order) * Sweet and Low. New World: NW 256, LP, 1926-33, c1977. Includes “Sweet and Low Blues” and “Til Times Get Better” by Jabbo Smith. * That's My Rabbit, My Dog Caught It: Traditional Southern Instrumental Styles. New World: NW 226, LP, 1925-77, c1978. * Thesaurus of Classic Jazz. Columbia: C4L 18, 4LP set, 1927-30, c1959. Includes twelve 1927-30 recordings by Miff Mole and His Molers (“At the Darktown Strutters Ball” with Red Nichols and Jimmy Dorsey, “That's a Plenty” with Jimmy Dorsey and Eddie Lang); eleven 1927 recordings with Red Nichols and the Charleston Chasers (“Farewell Blues” with Jimmy Dorsey and Miff Mole, “Five Pennies” with Pee Wee Russell); and other groups.

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ACID JAZZ, HIP HOP, AND TECHNO ANTHOLOGIES * The New Groove. The Blue Note Remix Project, Vol. 1. Blue Note: TOCP-65755 (36594), c1996. * A New Type of Jazz. New Breed: 020, c1994. Includes “Move Y’all,” “Racial Facial,” and “T.S.O.J.” * Rave ‘Til Dawn: Techno’s Finest. SBK/EMI: 27018, c1993. * Red Hot Trip Hop. Street Beat: 1021, c1996. * The Source Presents: Hip Hop Hits. Vol. 1. Polygram: 314 536 204, c1997. * This Is Acid Jazz. Vol. 1. Instinct: EX225, c1991. * This Is Acid Jazz. Vol. 2. Instinct: EX244, c1992. Includes “Keep On.” + This Is Acid Jazz: New Voices 3. Instinct: EX338, c1996. DISCOGRAPHY OF RECORDINGS CITED IN CONCISE GUIDE TO JAZZ What follows is information to help you find recordings that are cited in Concise Guide to Jazz. Music discussed in the text that is contained in The Smithsonian Collection of Classic Jazz is not covered in as much detail here because it is described within the SCCJ set. And there are fewer citations for many musicians whose work is available in SCCJ, especially those for whom SCCJ was the only citation in the text. This is not a list of recommended "essential" albums, though most are indeed excellent. What lies here is simply information that would not fit in the textbook itself and/or would be more convenient if compiled separately. The apportionment of contents here should not be construed to indicate the relative importance of any musicians. The entries for Duke Ellington, Miles Davis, and Stan Kenton, for example, far outnumber those for other players who are equally important. Frequently, as with Ellington, Davis and Kenton, the number of entries listed for a particular musician reflects only the number illustrations suggested for facets described in the text passages devoted to those particular musicians, and some text passages mention more facets than other text passages mention. Consequently there are more albums listed here for the musicians treated in those passages than for musicians treated in other passages. Some entries represent my own self-imposed, but not entirely adhered to, requirement to try to recommend at least one representative work for each musician or band that is mentioned in the text. Current catalog numbers and reissues have been added to or substituted for older ones that were listed in the first edition's discography. The listing in this discography of performers such as Bob James and Kenny G is not meant to reflect a judgment of musical creativity on the same level as artists whose styles are discussed at length in the text, but simply to provide examples of the “smooth jazz” style. An additional feature of this discography is the inclusion of album lists under a major player's name that illustrate his stylistic development in the context of albums under other bandleaders' names. For example, the John Coltrane section cites a Dizzy Gillespie album

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which features an early Coltrane solo; the Chick Corea section contains Herbie Mann albums that feature early Corea solos. For the convenience of readers who are interested in big band arranging, Count Basie and Stan Kenton albums are organized by arranger. Note that as we went to press, a few Stan Kenton albums on Creative World were still available by mail from GNP Crescendo, Suite 104, 8271 Melrose Ave., Los Angeles, CA 90046; phone: 800-654-7029; web: www.gnpcrescendo.com. Others listed in this discography are in-print on Capitol. All the albums listed in this discography are available to anyone willing to seek quality record stores or contact the mail order firms listed below. The author knows several individuals who bought the first edition of Jazz Styles in 1978, and, by now, have acquired every album they wanted that was mentioned in that book's discography. They watched for reissues, followed auction lists and corresponded with the mail order firms that were listed in the text's Guide to Record Buying. For obtaining albums listed here, consult the record dealers and importers that are listed. For out-of-print recordings, contact the rare record dealers, auction lists, eBay, and used-CD sources such as amazon.com Marketplace. I am very grateful for the professional effort of William E. Anderson in updating and editing this discography. Bill's advice and assistance have been indispensable in the preparation of Concise Guide to Jazz and this manual. REGARDING ASTERISKED RECORDINGS It is sometimes necessary to cite out-of-print recordings. One reason is that many historically significant recordings were not in print at press time. Another reason is that recommending only current issues would be an unintentional disservice to the musician who has no work in print at press time or whose best work is yet to be reissued. Given a choice between an out-of-print record representing a player's best work and a current one that does not do the player justice, the out-of-print one has been listed. Personnel, tune titles, and recording dates are included so that if the item is reissued, you can recognize it. You can look for the original copy in libraries, used record stores, rare record dealers, and the cut-out bins, that are in some record and book stores. It may be helpful to subscribe to jazz magazines that run record sales and list auctions and rare record finding services. For helpful strategies in obtaining jazz albums, especially out-of-print items, consult the book’s appendix “Music Buying Strategies” Also see the list of importers and record dealers.

For information about the availability of recordings, the following may be useful: All Music

www.allmusic.com

eJAZZLINES

www.ejazzlines.com

MUZE

CD-ROM or online catalog available in many libraries and stores or at www.rovicorp.com

Websites of various jazz record companies may also be useful. Some of the records listed here might be out-of-print by the time you read this, so the details attached to the entries constitute your key to finding them in reissued form. Chances

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are good that, within a few years of your reading this, some important works that were out-ofprint -- denoted by an asterisk (*) -- will have been reissued. Items marked (+) are currently available as downloads from various websites including Amazon.com and record company sites. In the following discography, the most recent issue number is listed first. Original and/or alternate release numbers are listed in parentheses.

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INFORMATION FOR MAIL ORDER LABELS Creative World (Kenton) c/o GNP Crescendo Records 8400 Sunset Blvd. Hollywood, CA 90069 800-654-7029 www.gnpcrescendo.com

Mosaic Records 425 Fairfield Ave., Suite 421 Stamford, CT 06902 tel: 203-327-7111 fax: 203-323-3526 www.mosaicrecords.com

Smithsonian Folkways Recordings 600 Maryland Ave., SW, Suite 2001 Washington, DC 20024 tel: 1-888-FOLKWAYS or 202-633-6450 fax: 202-633-6477 www.si.edu/folkways/ New World Records The Recorded Anthology of American Music (New World 20 Jay Street, #1001 Records) was distributed to many libraries. Some titles Brooklyn, NY 11201 can still be ordered from this address. Liner notes for out-of-print Tel: 212-290-1680 albums are available on the website. www.newworldrecords.org

MAIL ORDER SOURCES FOR JAZZ RECORDINGS (INCLUDING IMPORTS) Klompfoot Cadence Building Redwood, NY 13679 tel: 315-287-2852 www.klompfoot.com

True Blue Music 425 Fairfield Ave. , Suite 421 Stamford, CT 06902 tel: 203-327-7111 fax: 203-323-3526 www.truebluemusic.com

Double-Time Jazz /TheMusicResource.com P.O. Box 146 Floyds Knobs, IN 47119-0146 fax: 812-923-1971 www.themusicresource.com

J&R Music World tel: 800-806-1115 www.jr.com

The Jazz Loft www.jazzloft.com

Jazz Record Mart www.jazzmart.com

Downtown Music Gallery www.dtmgallery.com

www.amazon.com

FOR OUT-OF-PRINT RECORDINGS AND AUCTION LISTS International Association of Jazz Record Collectors: www.

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iajrc.org

KEY TO INFORMATION IN DISCOGRAPHY

artist

label and current catalog number title alternate or series title original issue number

CANNONBALL ADDERLEY * Cannonball and Coltrane [Quintet in Chicago]. Emarcy: 834 588-2 (MG-20449), 1959, c1999. with John Coltrane, Wynton Kelly, Paul Chambers, and Jimmy Cobb: “Limehouse Blues,” “Stars Fell on Alabama,” “Grand Central.”

year recorded, year published

format available (if not CD)

personnel

LP = long-playing record selected tunes from session AC = audio cassette NOTE: ALL ITEMS ARE COMPACT DISCS UNLESS OTHERWISE INDICATED. * = out of print (2012); many are still available from used dealers, including Amazon.com + = out of print but available as a download from recording firm’s website or Amazon.com.

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CANNONBALL ADDERLEY, 1928-1975 (Alto Sax) Quintet in Chicago [Cannonball and Coltrane]. Mercury: 559 770-2 (MG-20449), 1959, c1999. With John Coltrane, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Them Dirty Blues. Capitol Jazz: 95447 (Riverside 322), 1960, c1989. With Nat Adderley, Barry Harris or Bobby Timmons, Sam Jones, and Louis Hayes: “Jeannine,” “Dat Dere,” “Del Sasser,” “Work Song,” and others. At the Lighthouse. Capitol Jazz: 31572 (Riverside 344), 1960, c2001. Includes “Sack o’ Woe.” Jazz Workshop Revisited. Blue Note: 29441 (Riverside 444), 1962, c2001. Includes “Jive Samba.” Cannonball in Europe. Capitol Jazz: 60436 (Riverside 499), 1962, c2005. With Nat Adderley, Yusef Lateef, Joe Zawinul, Sam Jones, and Louis Hayes; includes “Trouble in Mind.” Mercy, Mercy, Mercy. Capitol: 29915 (ST 2663), 1966, c1995. With Nat Adderley, Joe Zawinul, Victor Gaskin, and Roy McCurdy; recommended not for the popular “Mercy, Mercy, Mercy,” but for some blazing solos and driving rhythm section on “Fun” that seems to show roots in both the hard bop style of the 1950s and Coltrane's methods of the 1960s. Best of Cannonball Adderley: The Capitol Years. Capitol Jazz: 95482, 1962-69, c1991. Includes “Work Song,” “Jive Samba,” “Mercy, Mercy, Mercy,” ”Walk Tall,” and “Country Preacher.” see MILES DAVIS - Miles Davis & John Coltrane: The Complete Columbia Recordings 1955-1961, Miles and Coltrane, Milestones, '58 Sessions, and Kind of Blue see ANTHOLOGIES - The Smithsonian Collection of Classic Jazz LOUIS ARMSTRONG, 1901-1971 (Trumpet/Singer) Ken Burns JAZZ Collection: Louis Armstrong. Sony/Legacy: 61440 (OKeh/RCA/Decca), 1923-67, c2000. *Louis Armstrong and Sidney Bechet in New York. Smithsonian: 2026, 2LP set, 1923-25, c1981. “Wild Cat Blues,” “Cake Walkin' Babies from Home,” and others. Louis Armstrong: Portrait of the Artist as a Young Man. Columbia/Legacy: 85670 (57176), 4CD set, 1923-34, c1994.

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Hot Fives and Sevens. JSP: JSPLOUISBOX 100 (OKeh), 4CD set, 1925-29, c[1991]. (import) * The Complete Hot Five and Hot Seven Recordings. Columbia/Legacy: C4K 63527 (OKeh), 4CD set, 1925-29, c2000. The Complete Hot Five and Hot Seven Recordings. Vol. 1. Columbia/Legacy: 86999 (OKeh), 1925-26, c2003. The Complete Hot Five and Hot Seven Recordings. Vol. 2. Columbia/Legacy: 87010 (OKeh), 1926-27, c2003. + The Complete Hot Five and Hot Seven Recordings. Vol. 3. Columbia/Legacy: 87011 (OKeh), 1927-28, c2003. Vol. 1: “Heebie Jeebies,” “Cornet Chop Suey,” “Muskrat Ramble,” and “King of the Zulus”; Vol. 2: “Big Butter and Egg Man,” “Wild Man Blues,” “Alligator Crawl,” “Potato Head Blues,” and “Twelfth Street Rag”; Vol. 3: “S.O.L. Blues,” “Struttin' with Some Barbecue,” “I'm Not Rough,” “Hotter Than That,” “Fireworks,” “Skip the Gutter,” “A Monday Date,” “West End Blues,” “Sugar Foot Strut,” “No Papa No,” “Weather Bird,” “Muggles,” “St. James Infirmary,” “Tight Like This,” and others. * Louis Armstrong and Earl Hines. Smithsonian: 2002, 2LP set, 1928, c1981. + The Complete RCA Victor Recordings. RCA Bluebird: 63846, 4CD set, 1932-33, 1946-47, 1956, c2000. Sugar: Best of the Complete RCA Victor Recordings. RCA Bluebird: 63851, 1932-47, c2001. The above items include “That’s My Home,” “I Gotta Right to Sing the Blues,” “Basin Street Blues,” “I’ve Got the World on a String,” and others. see KING OLIVER see BESSIE SMITH see ANTHOLOGIES - The Smithsonian Collection of Classic Jazz COUNT BASIE, 1904-1984 (Piano/Big Band) + Kansas City Powerhouse. RCA Bluebird: 63903 (Victor/Bluebird), 1929-32, 1947-49, c2002. Includes “Moten Swing” (1932) and other recordings by the Bennie Moten Orchestra, with Basie on piano plus the Basie band of the late 1940s. Ken Burns JAZZ Collection: Count Basie. Verve: 549 090-2 (Bluebird/Decca/Columbia/Verve/Roulette), 1932-57, c2000. The Complete Decca Recordings. Decca Jazz: GRD3-611, 3CD set, 1937-39, c1992. + The Best of Early Basie. Decca Jazz/GRP: 655, 1936-38, c1996. “One O'Clock Jump,” “Jumpin' at Woodside,” “Topsy,” “Jive at Five,” “Doggin’ Around,” “Cherokee,” and others. + America’s #1 Band. Columbia/Legacy: C4K 87110 (Vocalion/Okeh/Columbia), 4CD set, 1936-51, c2003. + The Essential Count Basie. Vol. 1. Columbia: 40608 (Vocalion), 1936-39, c1987.

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+ The Essential Count Basie. Vol. 2. Columbia: 40835 (Vocalion), 1939-40, c1987. Vol. 1: “Lady Be Good,” “Shoe Shine Boy,” “Pound Cake,” and “Taxi War Dance”; Vol. 2: “Dickie’s Dream” and “Lester Leaps In”; America’s #1 Band includes all of these and many more with improved sound quality. *The Complete Clef/Verve Count Basie Fifties Studio Recordings. Mosaic: MD8-228, 8CD set, 1952-57, c2006. *The Complete Roulette Studio Recordings of Count Basie and His Orchestra. Mosaic: MD10-149, 10CD set, 1957-61, c1993. Includes the following albums listed on this page: Kansas City Suite, The Legend, Basie, Basie Plays Hefti, One More Time, and Chairman of the Board. Best of the Roulette Years. Blue Note: 97969, 1957-61, c1991. Atomic Swing. Blue Note: 97871 (Roulette), 1957-60, c1999. see ANTHOLOGIES - Anthology of Big Band Swing, Big Band Jazz, Big Band Renaissance, Jazz Piano, Jive at Five, Ken Burns JAZZ, and Smithsonian Collection of Classic Jazz (The following list of Basie recordings is organized by arranger.) BILLY BYERS * More Hits of the 50s and 60s. Verve: V-8563, LP, 1963, c1963. Basie Land. Verve: B0012699-02 (V-8597), 1963, c2009. BENNY CARTER Kansas City Suite. Roulette: 94575 (52056), 1960, c1990. * The Legend. Roulette: 59038 (52086), 1961, c1985. NEAL HEFTI The Complete Atomic Basie. Roulette: 28635 (52003), 1957, c1994. * Basie Plays Hefti. Roulette: 52011, LP, 1958, c1958. On My Way and Shoutin' Again. Verve: B0012368-02 (V8511), 1962, c2009. QUINCY JONES * One More Time. Roulette: 97271 (52024), 1958-59, c1991. + Li'l Ol' Groovemaker. Verve: 821 799-2 (V-8549), 1963, c1980.

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THAD JONES Chairman of the Board. Roulette: 81664 (52032),1959, c2003. SAMMY NESTICO Straight Ahead. GRP: 822 (Dot 25902), 1967, c1998. * Have a Nice Day. Emarcy: 824 867-2 (Daybreak 2005), 1971. ERNIE WILKINS * Sixteen Men Swingin’ [Dance Session]. Verve: VE2-2517 (MGC-626/MGC-647), 2LP set, 1953-54, c1977. Hall of Fame. Fresh Sound: 567 (Verve MGV8291), 1956, c2010. (import)

BIX BEIDERBECKE, 1903-1931 (Cornet) * The Complete OKeh & Brunswick Recordings of Bix Beiderbecke, Frankie Trumbauer and Jack Teagarden. Mosaic: MD7-211, 7CD set, 1924-36, c2001. Bix & Tram. JSP: 913, 4CD set, 1924-34, c2002. (import) Bix Beiderbecke. Vol. 1. Singin' the Blues. Columbia: 45450, 1927-28, c1990. Frankie Trumbauer, Joe Venuti, Eddie Lang: “Singin' the Blues,” “In a Mist,” and others. Bix Beiderbecke. Vol. 2. At the Jazz Band Ball. Columbia: 46175, 1927-28, c1990. “A Good Man Is Hard to Find,” “Mississippi Mud,” and others. + The Indispensable Bix Beiderbecke. RCA: 66540, 2CD set, 1925-30, c1992. With Jean Goldkette, Paul Whiteman, and own groups. see ANTHOLOGIES - The Smithsonian Collection of Classic Jazz, Big Band Jazz, and Ken Burns JAZZ GEORGE BENSON, 1943- (Guitar/Singer) Breezin’. Warner Bros.: 3111 (2919), 1976, c1985. In Flight. Friday Music/Warner Bros.: 2983, 1976, c2011. BIRTH * Birth. Mr. Small’s Funhouse, 1999. * Find. Hopscotch: 11, 2001, c2002. With Josh Smith, Jeremy Bleich, and Joe Tomino.

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ART BLAKEY, 1919-1990 (Drums/Bandleader) Ken Burns JAZZ Collection: Art Blakey. Verve: 549 089-2 (Blue Note/Timeless), 1954-81, c2000. A Night at Birdland. Vols. 1 & 2. Blue Note: 32146/32147 (1521/1522), 2CDs, 1954, c2001. Live recordings with Clifford Brown, Lou Donaldson, Horace Silver, and Curly Russell; some volatile moments in Blakey's drum style; Silver's piano style is more Bud Powell-like here than the leaner conception Silver employed later. The Jazz Messengers. Columbia/Legacy: 65265 (CL 897), 1956, c1997. With Donald Byrd, Hank Mobley, and Horace Silver; excellent Byrd work and two Silver compositions; this recording is recommended for some of the most well-constructed solos of Hank Mobley's career: “Ecaroh,” “Nica's Dream” (both by Silver), “Carol's Interlude,” “Hank's Symphony,” and “Infra-Rae” (all by Mobley). (Sbme Special Mkts.) Hard Bop. Mosaic: MCD-1005 (Columbia CL 1040), 1956, c2006. Hard Bop; Paris Concert. Collectables: 5675 (Columbia CL1040), 1956, 1958, c1995. With Bill Hardman, Jackie McLean, Sam Dockery, and Spanky DeBrest; includes “Cranky Spanky” (1956). Moanin’. Blue Note: 95324 (84003), 1958, c1999. Includes Bobby Timmons’s “Moanin’.” * The Complete Blue Note Recordings of Art Blakey's 1960 Jazz Messengers. Mosaic: MD6-141, 6CD set, 1960-61, c1992. With Lee Morgan, Wayne Shorter, and Bobby Timmons. A Night in Tunisia. Blue Note: 64474 (84049), 1960, c2005. With Morgan, Shorter, and Timmons. Mosaic. Blue Note: 37769 (84090), 1961, c2006. With Freddie Hubbard, Curtis Fuller, Wayne Shorter, and Cedar Walton. + The Witch Doctor. Blue Note: 21957 (84258), 1961, c1999. + Roots and Herbs. Blue Note: 21956 (84347), 1961, c1999. Three Blind Mice. Vols. 1 & 2. Blue Note: 84451/84452, 2CDs, 1962, c1990. With Hubbard, Fuller, Shorter, and Cedar Walton. Caravan. Riverside: 30187 (RLP-9438), 1962, c2007. Ugetsu. Original Jazz Classics: 32692 (Riverside RLP-9464), 1963, c2011. Live recordings with Hubbard, Fuller, and Shorter. Indestructible. Blue Note: 80915 (84193), 1964, c2003. With Lee Morgan, Wayne Shorter, and Curtis Fuller.

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+ Buttercorn Lady. Emarcy: 822 471-2 (Limelight 82034), 1966,

c1986.

Album of the Year. Timeless: 74503 (155), 1981, c2010. Keystone 3. Concord: 4196, 1982, c1990. Both with Wynton Marsalis on trumpet. see HORACE SILVER - Horace Silver and The Jazz Messengers see ANTHOLOGIES - Ken Burns JAZZ and Nica's Dream CARLA BLEY, 1938- (Composer-Arranger, Keyboards) Selected Recordings. :rarum xv. ECM: B0001795-02 (Watt), 1971-99, c2004. Escalator over the Hill. Watt/ECM: 1802 (EOTH), 2CD set, 1968-71, c2000. + European Tour 1977. Watt/ECM: 8, 1977, c1978. Social Studies. Watt/ECM: 11, 1981, c2000. + Fleur Carnivore. Watt/ECM: 21, 1988, c1989. The Very Big Carla Bley Band. Watt/ECM: 23, 1990, c1991. Big Band Theory. Watt/ECM: 25, 1993, c2000. + The Carla Bley Big Band...Goes to Church. Watt/ECM: 27, 1996, c2000. Fancy Chamber Music. Watt/ECM: 28, 1997, c2000. 4 x 4. Watt/ECM: 30, 1999, c2000. Looking for America. Watt/ECM: 31, 2002, c2003. BLOOD, SWEAT AND TEARS (Jazz-Rock Band) Child Is Father to the Man. Columbia/Legacy: 63987 (9619), 1967, c2000. (Sbme Special Mkts.) Blood Sweat and Tears. Columbia/Legacy: 63986 (9720), 1968, c2000. MICHAEL BRECKER, 1949-2007 (Tenor Sax) Michael Brecker. MCA: 5980, c1986. Don’t Try This at Home. Impulse!: 42229, c1988. see CLAUS OGERMANN - Cityscape

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MICHAEL and RANDY BRECKER (Tenor Sax/Trumpet) Brecker Brothers: Heavy Metal Bebop. Arista, 1978, c2008. Brecker Brothers: Return of the Brecker Brothers. Verve: B0011225-02 (GRP 9684), 1992, c2008. see HORACE SILVER - In Pursuit of the 27th Man PETER BRÖTZMANN, 1941- (Tenor Sax/Clarinet) Sacred Scrape/Secret Response. Rastascan: 015, 1992, c1994. CLIFFORD BROWN, 1930-1956 (Trumpet) The Complete Blue Note and Pacific Jazz Recordings. Blue Note: 34195, 4CD set, 1953-54, c1995. Brownie: The Complete Emarcy Recordings of Clifford Brown. Emarcy: 838 306, 10CD set, 1954-56, c1989. Clifford Brown and Max Roach. Verve: 314 543 306-2 (Emarcy 36036), 1954, c2000. With Harold Land, Richie Powell, and George Morrow. Clifford Brown and Max Roach at Basin Street. Emarcy: 589 826 (MG-36070), 1956, c2002. Studio recordings with Sonny Rollins: “What Is This Thing Called Love” and “Gertrude’s Bounce.” see ART BLAKEY - A Night at Birdland see J.J. JOHNSON – The Eminent J.J. Johnson see SONNY ROLLINS – Sonny Rollins Plus 4 see ANTHOLOGIES – Bebop and Ken Burns JAZZ JAMES BROWN, 1933-2006 (R&B-Funk Band) Star Time. Polydor: 849 108 (King), 4CD set, 1956-1974, c1991. 50th Anniversary Collection. Polydor: B0001125-02, 2CD set, 1959-88, c2003. 20 All Time Greatest Hits. Polydor: 314 511 326, 1956-74, c1991. All of the above include “Cold Sweat” (1967). DAVE BRUBECK, 1920- (Piano) Ken Burns JAZZ Collection: Dave Brubeck. Sony/Legacy: 61442 (Fantasy/Columbia/Atlantic/MusicMasters), 1953-91, c2000. The Dave Brubeck Octet. Fantasy: OJC-101 (Fantasy 3-239), 1946-49, c1991. With Dick Collins, Bob Collins, Paul Desmond, Bob Cummings, Dave Van Kriedt, Bill Smith, Dave Brubeck, Ron Crotty, and Cal Tjader; some of these arrangements sound like the Birth of the Cool, historically interesting in light of the fact that these were made before the Miles Davis Nonet recorded.

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Jazz at Oberlin. Concord: 31991 (Fantasy 3-245), 1953, c2010. Concert. “These Foolish Things,” “Perdido,” and “How High the Moon.” + Gone with the Wind. Columbia: 40627 (CS 8156/CL 1347), 1959, c1983. With Desmond, Gene Wright, and Joe Morello. Brubeck's most relaxed date. Time Out. Columbia/Legacy: 65122 (CS 8192/CL 1397), 1959, c1997. With Desmond and Morello: “Take Five” and “Blue Rondo a la Turk.” Time Further Out. Columbia/Legacy: 64668 (CS 8490/CL 1690), 1961, c1996. ORNETTE COLEMAN, 1930- (Alto Sax) Ken Burns JAZZ Collection: Ornette Coleman. Sony/Legacy: 61450 (Contemporary/Atlantic/Blue Note/Columbia/Horizon), 1958-76, c2000. Complete Live at the Hillcrest Club. Gambit: 69272 (Inner City), 1958, c2008. With Don Cherry, Paul Bley, Charlie Haden, and Billy Higgins; includes Charlie Parker’s “Klactoveesedstene.” Something Else! Contemporary: 32845 (7551), 1958, c2011. With Don Cherry, Walter Norris, Don Payne, and Billy Higgins; all tunes by Coleman: “Invisible,” “The Blessing,” “When Will the Blues Leave?,” “Jayne,” and others. + Beauty Is a Rare Thing: The Complete Atlantic Recordings. Rhino: 71410, 6CD set, 1959-61, c1993. The Shape of Jazz to Come. Rhino/Atlantic: 1317, 1959, c1992. With Don Cherry, Charlie Haden, and Billy Higgins: “Lonely Woman,” “Congeniality,” and “Peace.” Change of the Century. Atlantic: 81341 (1327), 1959, c1992. With Cherry, Haden and Higgins: “Ramblin',” and others. Free Jazz. Atlantic: 1364, 1960, c1988. Recording of one, uninterrupted, collective improvisation, employing very little preset structure; with Ornette Coleman, Eric Dolphy, Don Cherry, Freddie Hubbard, Scott LaFaro, Charlie Haden, Billy Higgins, and Ed Blackwell. At the Golden Circle. Vol. 1. Blue Note: 35518 (84224), 1965, c2002. Concert by Coleman, David Izenzon, and Charles Moffett: “Faces and Places,” “European Echoes,” “Dee Dee,” and “Dawn.” * Forms and Sounds: The Music of Ornette Coleman. RCA Bluebird: 6561 (LSC-2982), 1968, c1987. Includes Coleman's “Forms and Sounds” played by the Philadelphia Woodwind Quintet with trumpet interludes played by Coleman; and “Saints and Soldiers” and “Space Flight” played by the Chamber Symphony of Philadelphia Quartet.

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The Complete Science Fiction Sessions. Columbia/Legacy: C2K 63569 (31061), 2CD set, 1971-72, c2000. Includes “Civilization Day” with Don Cherry, Charlie Haden, Billy Higgins. + Skies of America. Columbia/Legacy: 63568 (31562), 1972, c2000. Coleman's writing, performed by the London Symphony Orchestra conducted by David Measham with Coleman on saxophone. + Dancing in Your Head. Verve: 314 543 519-2 (Horizon SP-722), 1976, c2000. Electric band. * Of Human Feelings. Antilles 2001, 1979, c1982. Electric band. * In All Languages. Harmolodic/Verve: 531 915-2 (Caravan of Dreams 85008), 1987, c1997. Half with Don Cherry, Charlie Haden, and Billy Higgins; half with the electric band: Prime Time. see ANTHOLOGIES - Ken Burns JAZZ and The Smithsonian Collection of Classic Jazz STEVE COLEMAN, 1956- (Alto Sax) * Motherland Pulse. Winter & Winter: 919001 (JMT 850001), 1985, c2001. World Expansion. Winter & Winter: 919010 (JMT 870 101), 1986, c2002. * Curves of Life. RCA Victor: 31693, 1995, c1995. * Genesis & The Opening of the Way. RCA Victor: 52934, 2CD set, 1997, c1997. JOHN COLTRANE, 1926-1967 (Tenor Sax/Soprano Sax) * The Last Giant: The John Coltrane Anthology. Rhino: 71255, 2CD set, 1946-67, c1993. Includes early solos with Dizzy Gillespie, Gay Crosse, and Johnny Hodges, plus a selection of Blue Note and Atlantic recordings. Blue Train. Blue Note: 95326 (81577), 1957, c2003. With Lee Morgan, Curtis Fuller, Paul Chambers, and Philly Joe Jones. The Prestige Recordings. Prestige: 4405, 16CD set, 1956-58, c1991. Traneing In. Prestige: 30156 (7123), 1957, c2007. With Red Garland, Paul Chambers, and Art Taylor. Soultrane. Prestige: 30006 (7142), 1958, c2006. With Garland, Chambers, and Taylor: “Good Bait,” “Theme for Ernie,” “I Want to Talk about You,” and others.

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Ken Burns JAZZ Collection: John Coltrane. Verve: 549 083-2 (Atlantic/Impulse!), 1956-67, c2000. The Heavyweight Champion: The Complete Atlantic Recordings. Rhino: 71984, 7CD set, 1959-61, c1995. Giant Steps. Atlantic: 1311, 1959, c1988. With Tommy Flanagan, Elvin Jones; “Giant Steps,” “Countdown,” and “Naima.” + Coltrane Jazz. Rhino: 79891 (Atlantic 1354), 1959, c2000. My Favorite Things. Rhino: 75204 (Atlantic 1361), 1960, c1998. Includes “My Favorite Things.” Coltrane Plays the Blues. Atlantic: 1382, 1960, c1989. + Avant-Garde. Atlantic: 1451, 1960, c1990. Olè Coltrane. Atlantic: 1373, 1961, c1989. Includes “Olè” with Eric Dolphy. The Complete Africa/Brass Sessions. Impulse!: IMPD2-168 (A-6), 2CD set, 1961, c1995. Coltrane: The Complete 1961 Village Vanguard Recordings. Impulse!: IMPD4-232, 4CD set, 1961, c1997. With Eric Dolphy, McCoy Tyner, Jimmy Garrison, Reggie Workman, Elvin Jones, and others; includes “Spiritual,” “Chasin’ the Trane,” “Impressions,” “India,” and others. Impressions. Impulse!: 314 543 416-2 (A-42), 1961-63, c2000. Includes “Impressions” and “India.” + The Classic Quartet: Complete Impulse! Studio Recordings. Impulse!: IMPD8-280, 8CD set, 1961-65, c1998. With McCoy Tyner, Jimmy Garrison, and Elvin Jones. Coltrane. Impulse!: 215 (A-21), 1962, c1997. Coltrane. deluxe ed. Impulse!: 314 589 567-2 (A-21), 1962, c2002. Includes “Tungi,” “Miles Mode,” “Out of This World,” and others. Dear Old Stockholm. Impulse!: 120, 1963, c1993. Includes “After the Rain.” Live at Birdland. Impulse!: B0010968-02 (A-50), 1963, c2008. Includes “Your Lady,” “The Promise,” “Alabama,” and others. Crescent. Impulse!: B0010969-02 (A-66), 1964, c2008. Includes “Bessie’s Blues,” “Wise One,” “Lonnie’s Lament,” and others.

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A Love Supreme. Impulse!: B0010970-02 (A-77), 1964, c2008. A Love Supreme. deluxe ed. Impulse!: 314 589 945-2 (A-77), 2CD set, 1964, c2002. Includes “Pursuance.” Ascension. Impulse!: B0012402-02 (A-95), 1965, c2009. Includes editions I & II. The Major Works of John Coltrane. Impulse!: GRD2-113, 2CD set, 1965, c1992. Includes “Ascension” - editions I & II (A-95) and “Kulu Se Mama” (A-9106). Meditations. Impulse!: 199 (A-9110), 1965, c1996. Transition. Impulse!: B0015953-02 (A-9195), 1965, c2011. Includes “Dear Lord.” Live in Seattle. Impulse!: GRD2-146 (A-9202-2), 2CD set, 1965, c1994. Sun Ship. Impulse!: B0015952-02 (A-9211), 1965, c2011. Interstellar Space. Impulse!: 314 543 415-2 (A-9277), 1967, c2000. With Rashied Ali; includes “Mars.” Expression. Impulse!: 131 (A-9120), 1967, c1993. Includes “Expression” and “Ogunde.” see CANNONBALL ADDERLEY - Quintet in Chicago see MILES DAVIS - New Quintet, Cookin', Relaxin', Workin', Steamin', Miles Davis & John Coltrane: The Complete Columbia Recordings, 'Round about Midnight, Miles and Coltrane, Milestones, '58 Sessions, and Kind of Blue see THELONIOUS MONK – At Carnegie Hall see ANTHOLOGIES - Ken Burns JAZZ and The Smithsonian Collection of Classic Jazz FOR EXAMPLES OF EARLY COLTRANE SOLOS: see JOHN COLTRANE - The Last Giant (above) see DIZZY GILLESPIE - School Days and Odyssey CHICK COREA, 1941- (Keyboards) Inner Space. Atlantic/Rhino: 305 (Vortex 2004), 1966, c1988. “Tones for Joan's Bones” and “Litha.” Now He Sings, Now He Sobs. Blue Note: 38265 (Solid State 18039), 1968, c2002. With Miroslav Vitous and Roy Haynes: “Matrix,” “Steps-What Was,” “Now He Beats the Drum-Now He Stops,” and “Now He Sings, Now He Sobs.”

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+ The Complete “Is” Sessions. Blue Note: 40532 (Solid State), 2CD set, 1969, c2002. * The Song of Singing. Blue Note: 84353, 1970, c1989. With Dave Holland and Barry Altschul. A.R.C. ECM: 1009, 1971, c2000. With Dave Holland and Barry Altschul: “Nefertiti,” “Ballad for Tillie,” “Thanatos,” “Vendana,” and others. Piano Improvisations. Vol. 1. ECM: 1014, 1971, c2000. Piano Improvisations. Vol. 2. ECM: 1020, 1971, c2000. Solo piano; all tunes written by Corea, except Thelonious Monk's “Trinkle Tinkle” and Wayne Shorter's “Masqualero”; also includes “Song for Lee Lee,” “Song for Sally,” “Song of the Wind,” and “Some Time Ago.” Return to Forever. ECM: 1022, 1971, c1999. With Stanley Clarke, Airto Moreira, Flora Purim, and Joe Farrell; all tunes composed by Corea: “Return to Forever,” “Crystal Silence,” “What Game Shall We Play Today?,” and “Some Time Ago - La Fiesta.” Return to Forever. Light as a Feather. Polydor: 827 148-2 (5525), 1972, c1987. Return to Forever. Light as a Feather [remastered]. Verve: 314 557 115-2 (Polydor 5525), 1972, c1998. With Joe Farrell, Stanley Clarke, Airto, and Flora Purim; includes “Spain.” Return to Forever. Hymn to the Seventh Galaxy. Verve: 825 336-2 (Polydor 5536), 1973, c1991. Return to Forever. Where Have I Known You Before? Polydor: 825 206 (6509), 1974, c1985. With Al DiMeola, Stanley Clarke, Lenny White. Return to Forever. No Mystery. Polydor: 827 149 (6512), 1975, c1989. With Chick Corea (acoustic and electric piano, clavinet, Yamaha organ, synthesizers, snare drum, marimba, and vocal), Al Dimeola (electric and acoustic guitar), Stanley Clarke (acoustic and electric bass, Yamaha organ, synthesizer and vocal), and Lenny White (drums, marimba, conga, and percussion); Spanish "flamenco" and rock are the idioms, not primarily jazz, with little soft material, mostly hard feel: “Dayride” (Clarke), “Jungle Waterfall” (Corea-Clarke), “Flight of the Newborn” (Dimeola), “Excerpt from the Movement of Heavy Metal” (entire band), “No Mystery” (Corea), “Interplay” (Corea-Clarke), “Celebration Suite I and II” (Corea); this recording is cited to illustrate the mixture of acoustic and electric, jazz and rock styles, which typified Corea concerts of the mid-1970's. Trio Music. ECM: 1232, 1981, c2001. Trio Music Live in Europe. ECM: 1310, 1984, c2000. With Miroslav Vitous and Roy Haynes. Chick Corea Elektric Band. GRP: 9535, 1986, c1986.

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CHICK COREA AS SIDEMAN Blue Mitchell: The Thing to Do. Blue Note: 94319 (84178), 1964, c2004. With Chick Corea, Junior Cook, Gene Taylor, Al Foster (basically Horace Silver's band with Corea taking Silver's place); includes some Bud Powell-influenced Corea solos. Herbie Mann: Herbie Mann Plays The Roar of the Greasepaint - The Smell of the Crowd. Collectables: 6829 (Atlantic 1437), 1965, c2001. With Chick Corea, Dave Pike, Patato Valdez, Earl May, and Bruno Carr: “The Joker,” “Feeling Good,” “Who Can I Turn To?,” and “On a Wonderful Day Like Today”; contains good examples of early Corea. This reissue is combined with Herbie Mann, Today! (Atlantic 1454). + Herbie Mann: Standing Ovation at Newport. Wounded Bird: 1445 (Atlantic 1445), 1965, c2000. With Corea, Pike, Valdez, May and Carr; good examples of early Corea. Herbie Mann: Monday Night at the Village Gate. Wounded Bird: 1462 (Atlantic 1462), 1965, c2001. With Corea, Pike, Valdez, May, and Carr; good examples of early Corea. Blue Mitchell: Boss Horn. Blue Note: 63813 (84257), 1966, c2005. With Chick Corea, Julian Priester, Junior Cook, Pepper Adams, Gene Taylor, and Mickey Roker: “Tones for Joan's Bones,” “Straight Up and Down,” etc.; includes some Bud Powell-influenced Corea solos. Note: Both The Thing to Do and Boss Horn were reissued on * The Complete Blue Mitchell Blue Note Sessions (Mosaic: MD4-178, 4CD set, 1963-67, c1998). + Cal Tjader: Soul Burst. Verve: 557 446-2 (V6-8637), 1966, c1998. With Chick Corea, Jerome Richardson, Jerry Dodgion, Seldon Powell, Richard Davis, and Grady Tate; includes some McCoy Tyner-influenced Corea soloing. Stan Getz: Sweet Rain. Verve: B0011226-02 (V6-8693), 1967, c2008. With Corea, Ron Carter, and Grady Tate: “Litha,” “Windows,” and “Con Alma.” see MILES DAVIS - Black Beauty see ANTHOLOGIES - Jazz Piano HANK CRAWFORD, 1934-2009 (Saxophone) Mr. Blues Plays Lady Soul. Collectables: 6244 (Atlantic 1523), 1969, c1999. + Soul Survivors. Milestone: 9142, 1986, c1986. CRUSADERS The Best of the Jazz Crusaders: The Pacific Jazz Years. Blue Note: 89283, 1961-66, c1993.

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Southern Comfort. MCA: 6016 (Blue Thumb 9002), 1974, c1997. Street Life. Blue Thumb: 701 (MCA 3008), 1979, c1996. All with Joe Sample and Wilton Felder. MILES DAVIS, 1926-1991 (Trumpet) Ken Burns JAZZ Collection: Miles Davis. Sony/Legacy: 61443 (Savoy/Capitol/Prestige/Columbia/Warner Bros.), 1947-86, c2000. Birth of the Cool. Capitol: 30117 (T 762), 1949-50, c2001. The Complete Birth of the Cool. Capitol Jazz: 94550, 1948-50, c1998. Sessions arranged by Johnny Carisi, John Lewis, Miles Davis, Gerry Mulligan, and Gil Evans; with soloists Davis, Mulligan, and Lee Konitz: “Jeru,” “Boplicity,” “Budo,” “Moon Dreams,” and others; instrumentation consists of trumpet, alto sax, baritone sax, trombone, French horn, tuba, piano, bass, and drums; often called the Miles Davis Nonet. Chronicle: The Complete Prestige Recordings. Prestige: 012, 8CD set, 1951-56, c1987. Dig. OJC/Concord: 32327 (Prestige 7012), 1951, c2010. With Sonny Rollins, Jackie McLean, Walter Bishop, Jr., Tommy Potter, and Art Blakey: George Shearing's “Conception,” McLean's “Dig” (also called “Donna,” based on the chord progressions of “Sweet Georgia Brown”), “Denial” (based on the chord changes of Charlie Parker's “Confirmation”), “Bluing,” “Out of the Blue,” and “It's Only a Paper Moon.” Collector's Items. Prestige: 24022 (P-7044), 1953, 1956, c2007. With Sonny Rollins, Tommy Flanagan, Paul Chambers, and Art Taylor (1956): Dave Brubeck's “In Your Own Sweet Way” and Davis's “Vierd Blues” and “No Line”; also a session with Sonny Rollins, Charlie Parker (playing tenor and identified as Charlie Chan), Walter Bishop, Jr., Percy Heath, and Philly Joe Jones (1953): “Compulsion,” “'Round Midnight,” and two takes of “The Serpent's Tooth.” Walkin'. Prestige/Concord: 30008 (P-7076), 1954, c2006. With Horace Silver, J. J. Johnson, Kenny Clarke, and others. Bag's Groove. Prestige: 30645 (P-7109), 1954, c2008. With Milt Jackson, Thelonious Monk, Percy Heath, and Kenny Clarke: “Bags' Groove”; also a session with Sonny Rollins, Horace Silver, Percy Heath, and Kenny Clarke, including the Rollins compositions: “Oleo,” “Doxy,” and “Airegin,” and “But Not for Me” (Gershwin). Miles Davis and the Modern Jazz Giants. Prestige: 30655 (P-7150), 1954, c2008. With Jackson, Monk, Heath, and Clarke: “The Man I Love,” “Swing Spring,” and “Bemsha Swing.” The New Miles Davis Quintet. Prestige: 31343 (P-7014), 1955, c2009. With John Coltrane, Red Garland, Paul Chambers, and Philly Jo Jones.

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The Legendary Prestige Quintet Sessions. Prestige: PRCD4-4444-2, 4CD set, 1955-56, c2006. Cookin'. Prestige: 30157 (P-7094), 1956, c2007. Relaxin'. Prestige: 8104 (P-7129), 1956, c2006. Workin'. Prestige: 30080 (P-7166), 1956, c2006. Steamin'. Prestige: 30167 (P-7200), 1956, c2007. With Coltrane, Garland, Chambers, and Jones: “Oleo,” “If I Were a Bell,” “You're My Everything,” “I Could Write a Book,” “It Could Happen to You,” “Woody 'n' You,” “My Funny Valentine,” “Blues by Five,” “Airegin,” “Tune Up,” “When Lights Are Low,” “It Never Entered My Mind,” “Four,” “In Your Own Sweet Way,” “The Theme” (two takes), “Trane's Blues,” “Ahmad's Blues,” and “Half Nelson.” Miles Davis & John Coltrane: The Complete Columbia Recordings 1955-1961. Columbia/Legacy: 90922, 6CD set, 1955-61, c2004. 'Round About Midnight. Columbia/Legacy: 85201 (CL 949), 1955-56, c2001. * Miles and Coltrane. Columbia: 44052, 1955, 1958, c1988. “Budo” (1955); also includes 1958 Newport performance with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb. Miles Davis/Gil Evans: The Complete Columbia Studio Recordings. Columbia/Legacy: 90923, 6CD set, 1957-68, c2004. Includes all of Miles Ahead, Porgy and Bess, Sketches of Spain, plus additional material. Miles Ahead. Columbia/Legacy: 65121 (CL1041), 1957, c1997. Gil Evans arrangements; includes Dave Brubeck’s “The Duke.” Milestones. Columbia/Legacy: 85203 (CL1193), 1958, c2001. Includes “Two Bass Hit” and “Billy Boy.” Porgy and Bess. Columbia/Legacy: 65141 (CL1274), 1958, c1997. Gil Evans arrangements; includes “Summertime” and “Fishermen, Strawberry and Devil Crab.” + '58 Sessions. Columbia: 47835, 1958, c1991. Studio and live sessions with Coltrane, Adderley, Bill Evans, Chambers, and Cobb; includes “On Green Dolphin Street.” Kind of Blue. Columbia/Legacy: 64935 (CS8163/CL1355), 1959, c1997. Includes “Freddie the Freeloader,” “So What,” “Blue in Green,” and “Flamenco Sketches.” Sketches of Spain. Columbia/Legacy: 65142 (CS8271/CL1480), 1959-60, c1997. Gil Evans arrangements; includes “Concerto de Aranjuez (Adagio),” “Solea,” “Saeta,” “The Pan Piper,” and “Will o’ the Wisp.”

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Someday My Prince Will Come. Columbia/Legacy: 65919 (CS8456/CL1656), 1961, c1999. Sbme Special Mkts. + In Person Friday and Saturday Nights at the Blackhawk, Complete. Columbia/Legacy: C4K 87106 (CL1669/1670), 4CD set, 1961, c2003. Saturday Night at the Blackhawk. Columbia/Legacy: 87100 (CL1670), 1961, c2003. Miles Davis at Carnegie Hall: The Complete Concert. Columbia/Legacy: C2K 65027 (CS8612/CL1812), 2CD set, 1961, c1998. Seven Steps: The Complete Columbia Recordings of Miles Davis 1963-1964. Columbia/Legacy: 90840, 7CD set, 1963-64, c2004. Includes Seven Steps to Heaven, In Europe, My Funny Valentine, Four and More, Miles in Tokyo, and Miles in Berlin. Seven Steps to Heaven. Columbia/Legacy: 93592 (CS8851/CL2051), 1963, c2005. Includes “I Fall in Love Too Easily.” Sbme Special Mkts. + In Europe. Columbia/Legacy: 93583 (CS 8983/CL2183), 1963, c2005. My Funny Valentine. Columbia/Legacy: 93593 (CS9106/CL2306), 1964, c2005. Concert; includes “My Funny Valentine,” “Stella by Starlight,” and “All of You.” Four and More. Columbia/Legacy: 93595 (CS9253/CL2453), 1964, c2005. Miles in Tokyo. Columbia/Legacy: 93596, 1964, c2005. Sbme Special Mkts. Concert with Sam Rivers, Herbie Hancock, Ron Carter, and Tony Williams. Miles in Berlin. Columbia/Legacy: 93594, 1964, c2005. Concert with Wayne Shorter, Hancock, Carter, and Williams. Miles Davis Quintet 1965-1968: The Complete Columbia Studio Recordings. Columbia/Legacy: 90925, 6CD set, 1965-68, c2004. With Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams; includes all of E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, part of Filles de Kilimanjaro, plus additional material. E.S.P. Columbia/Legacy: 65683 (CS9150/CL2350), 1965, c1998. Includes “E.S.P.,” “Agitation,” “Little One,” “R.J.,” “Eighty-One,” “Mood,” and “Iris.” * The Complete Live at the Plugged Nickel. Columbia/Legacy: CXK 66955, 6CD set, 1965, c1995. Miles Smiles. Columbia/Legacy: 65682 (CS9401/CL2601), 1966, c1998. Includes “Orbits,” “Freedom Jazz Dance,” “Circle,” “Footprints,” “Dolores,” and “Gingerbread Boy.”

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Sorcerer. Columbia/Legacy: 65680 (CS9532/CL2732), 1967, c1998. Sbme Special Mkts. Includes “The Sorcerer,” “Limbo,” “Prince of Darkness,” “Masqualero,” “Vonetta,” and “Pee Wee.” Nefertiti. Columbia/Legacy: 65681 (CS9594), 1967, c1998. Includes “Nefertiti,” “Madness,” “Riot,” “Fall”, and “Hand Jive.” Miles Davis Quintet: Live in Europe 1967. Columbia: 94053, 3CD + DVD set, 1967, c2011. Miles in the Sky. Columbia/Legacy: 65684 (CS9628), 1968, c1998. Sbme Special Mkts. Includes “Country Son.” Filles de Kilimanjaro. Columbia/Legacy: 86555 (CS9750), 1968, c2002. Sbme. Includes “Filles de Kilimanjaro,” “Felon Brun,” and “Tout de Suite.” The Complete In a Silent Way Sessions. Columbia/Legacy: 90921 (CS9875), 3CD set, 1968-69, c2004. In a Silent Way. Columbia/Legacy: 86556 (CS9875), 1969, c2002. The Complete Bitches Brew Sessions. Columbia/Legacy: 90924, 4CD set, 1969-70, c2004. Bitches Brew. Columbia/Legacy: 54519 (GP 26), 2CD + 1DVD set, 1969, c2010. Includes “Bitches Brew” and “Pharaoh’s Dance.” The Complete Jack Johnson Sessions. Columbia/Legacy: 86359, 5CD set, 1970, c2003. + A Tribute to Jack Johnson. Columbia: 93599 (30455), 1970, c2005. It’s About That Time: Live at the Fillmore East (March 7, 1970). Columbia/Legacy: C2K 85191, 2CD set, 1970, c2001. + Black Beauty: Miles Davis at the Fillmore West. Columbia/Legacy: C2K 65138 (CBS/Sony: SOPJ 39-40), 2CD set, 1970, c1997. Live with Steve Grossman, Chick Corea, Dave Holland, Jack DeJohnette, and Airto Moreira. Note: In the author's opinion, this set is superior to Big Fun, At the Fillmore, In Concert, Jack Johnson, On the Corner, and Get Up with It. It provides the only recorded examples of extended improvisation by Chick Corea while he was with Davis, and might be the most exciting recorded playing of Corea's career. The concert was one of those nights when everything seemed to fall into place and forge ahead with blistering intensity. + At Fillmore: Live at the Fillmore East. Columbia/Legacy: C2K 65139 (CG 30038), 2CD set, 1970, c1997. Live-Evil. Columbia/Legacy: C2K 65135 (G 30954), 2CD set, 1970, c1997. Includes “Sivad,” “Selim,” and “Little Church.” Big Fun. Columbia/Legacy: C2K 63973 (PG 32866), 2CD set, 1969-72, c2000. Includes “Great Expectations.”

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The Cellar Door Sessions 1970. Columbia/Legacy: 93614, 6CD set, 1970, c2005. On the Corner. Columbia/Legacy: 63980 (PC 31906), 1972, c2000. + In Concert: Live at Philharmonic Hall. Columbia/Legacy: C2K 65140 (PG 32092), 2CD set, 1972, c1997. Get Up with It. Columbia/Legacy: C2K 63970 (PG 33236), 2CD set, 1970-74, c2000. Agharta. Columbia/Legacy: C2K 46799 (PG 33967), 2CD set, 1975, c1991. Pangaea. Columbia: C2K 46115 (CBS/Sony: 50DP 239-40), 2CD set, 1975, c1990. doo-bop. Warner Bros.: 26938, 1991, c1992. see CHARLIE PARKER - Savoy and Dial recordings see ANTHOLOGIES - Bebop, The Birth of the Third Stream, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz PAUL DESMOND, 1924-1977 (Alto Sax) + The Best of the Complete RCA Victor Recordings. RCA: 3634, 1961-65, c2000 + The Complete RCA Victor Recordings. RCA Victor: 68687, 5CD set, 1961-65, c1997. Desmond Blue. RCA Bluebird: 63898 (LSP 2438), 1961-62, c2002. Sbme. With strings; Jim Hall on some selections. Two of a Mind: Paul Desmond and Gerry Mulligan. Victor Jazz: 64019 (LSP 2624), 1962, c2003. Sbme. see DAVE BRUBECK – Ken Burns JAZZ, Dave Brubeck Octet, Jazz at Oberlin, Gone with the Wind, and Time Out

DAVE DOUGLAS, 1963- (Trumpet) Parallel Worlds. Soul Note: 121 226, 1993, c1993. The Tiny Bell Trio. Songlines: 1504, 1993, c1994. Tiny Bell Trio: Constellations. hatOLOGY: 666 (6173), 1995, c2009. * Tiny Bell Trio Live in Europe. Arabesque Jazz: 0126, 1996, c1997. + Witness. RCA Bluebird: 63763, 2000, c2001. + The Infinite. RCA Bluebird: 63918, 2001, c2002.

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see JOHN ZORN - Masada PAQUITO D’RIVERA, 1948- (Saxophone/Clarinet) + The Best of Paquito D’Rivera. Columbia/Legacy: 85342, 1981-87, c2002. Paquito D’Rivera/Arturo Sandoval: Reunion. Pimienta/Universal: 245 360 610 (Messidor 15805), 1990, c2004. Paquito D’Rivera Presents 40 Years of Cuban Jam Session. Pimienta/Universal: 245 360 632 (Messidor 15826), 1993, c2004. see IRAKERE - Best of… ROY ELDRIDGE, 1911-1989 (Trumpet) Little Jazz Trumpet Giant. Proper: BOX 69 (Vocalion/Brunswick/Decca, etc.), 4CD set, 1935-53, c2004. * Little Jazz. Jazz Archives/EPM: 158362 (Vocalion/Brunswick/Decca), 1935-44, c1995. Includes Teddy Hill and Fletcher Henderson selections and the following selections listed below: “Wabash Stomp,” “Florida Stomp,” “Heckler’s Stomp,” “After You’ve Gone” (2 versions), “Let Me Off Uptown,” “Rockin’ Chair,” “That Drummer’s Band,” “The Gasser,” and “I Can’t Get Started.” * Little Jazz. Columbia: 45275 (Vocalion), 1935-1940, c1989. Includes a selection with Teddy Hill (1935); four selections with Fletcher Henderson (1936); four selections with Teddy Wilson (1936) including “Blues in C# Minor”; and a Eldridge band date (1937): “Wabash Stomp,” “Florida Stomp,” “Heckler's Hop,” “After You've Gone,” and others. + Roy Eldridge with the Gene Krupa Orchestra: Uptown. Columbia: 45448, 1940-49, c1990. With Gene Krupa Orchestra and Anita O'Day (1940-42): “Green Eyes,” “Let Me Off Uptown,” “After You've Gone,” “Rockin' Chair,” “Harlem On Parade,” “The Marines' Hymn,” “That Drummer's Band,” “Massachusetts,” “Murder, He Says,” and others. + After You've Gone. Decca Jazz/GRP: 605 (Brunswick/Decca), 1943-46, c1991. Includes “The Gasser” (1943); “After You've Gone,” “I Can't Get Started” (1944); “All the Cats Join In,” “Hi Ho Trailus Boot Whip,” “Yard Dog,” and “Rockin' Chair” (1946). see COLEMAN HAWKINS - Tenor Giants see BILLIE HOLIDAY – Lady Day see ANTHOLOGIES - Anthology of Big Band Swing, The 1930's-The Small Combos and The Smithsonian Collection of Classic Jazz

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DUKE ELLINGTON, 1899-1974 (Piano, Big Band) Ken Burns JAZZ Collection: Duke Ellington. Sony/Legacy: 61444, 1927-60, c2000. Sbme Special Mkts. * The Duke Ellington Centenial Edition: The Complete RCA Victor Recordings. RCA: 63386, 24CD set, 1927-73, c1999. * Beyond Category: The Musical Genius of Duke Ellington. Buddah: 99362 (RCA 49000), 2CD set, 1927-67, c1999. The Essential Duke Ellington. Columbia/Legacy: C2K 89281, 2CD set, 1927-60, c2005. Mrs. Clinkscales to the Cotton Club: Vol. 1. JSP: 924 (Brunswick, Vocalion, OKeh, Victor), 4CD set, 1926-29, c2005. * Early Ellington. RCA Bluebird: 6852 (Victor), 1927-34, c1989. Includes “Creole Love Call” with Bubber Miley, “East St. Louis Toodle-oo,” “Black and Tan Fantasy,” “Mood Indigo,” “Creole Rhapsody,” and an early example of piano comping (first chorus of Hodges's alto solo on “The Mooche”). * Jungle Nights in Harlem. RCA Bluebird: 2499 (Victor), 1927-32, c1991. + Jubilee Stomp. RCA Bluebird: 66038 (Victor), 1928-34, c1992. + Early Ellington: The Complete Brunswick and Vocalion Recordings of Duke Ellington. Decca Jazz/GRP: GRD-3-640, 3CD set, 1926-31, c1994. + The Best of Early Ellington. Decca Jazz/GRP: 660, 1926-31, c1996. Includes “Black and Tan Fantasy,” “Mood Indigo,” and “Creole Rhapsody.” The Cotton Club to Sweden, Vol. 2. JSP: 936 (Victor, Brunswick, Columbia), 4CD set, 1929-40, c2007. * The Duke. Columbia/Legacy: 92684 (65841), 3CD set, 1927-61, c2004. Includes “East St. Louis Toodle-oo,” “Black and Tan Fantasy” (1927), “The Mooche” (1928), “It Don’t Mean a Thing If It Ain’t Got That Swing” (1932), “Caravan” (1937), “Prelude to a Kiss” (1938), “Sophisticated Lady” (1940), “Golden Cress,” “Sultry Serenade,” “On a Turquoise Cloud” (1947), “Take the A Train” (1951), “The Star-Crossed Lovers” (1956), and others. The Okeh Ellington. Columbia: C2K 46177, 2CD set, 1927-30, c1991. Includes “East St. Louis Toodle-oo,” “Black and Tan Fantasy,” “The Mooche,” “Mood Indigo,” and “Rockin' in Rhythm.” The Complete 1932-1940 Brunswick, Columbia and Master Recordings of Duke Ellington and His Famous Orchestra. Mosaic: MD11-248, 11CD set, 1932-40, c2010. (mail order - see page 122.)

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+ Reminiscing in Tempo. Columbia/Legacy: 48654, 1928-60, c1991. Includes “The Mooche” (1928), “Rockin’ in Rhythm” (1931), “It Don't Mean a Thing If It Ain't Got That Swing” (1932), “Reminiscing in Tempo” (1935), and “On a Turquoise Cloud” (1947). * Braggin' in Brass. Portrait/CBS: 44395 (Brunswick), 2CD set, 1938, c1989. The Complete 1936-1940 Variety, Vocalion and Okeh Small Group Sessions. Mosaic: MD7-235, 7C set, 1936-40, c2007. (mail order - see page 000) + The Duke's Men: Small Groups. Vol. 1. Columbia/Legacy: C2K 46995, 2CD set, 1934-38, c1991. + The Duke's Men: Small Groups. Vol. 2. Columbia/Legacy: C2K 48835. 2CD set, 1938-40, c1993. Groups led by Johnny Hodges, Rex Stewart, Cootie Williams, and Barney Bigard; Vol. 2 includes “Jeep’s Blues” and “Empty Ballroom Blues” which show the Sidney Bechet influence on Johnny Hodges. All are also on the Mosaic set. + Solos, Duets and Trios. RCA Bluebird: 2178-2 (Victor), 1932-1967, c1990. Includes 1940 duets with bassist Jimmy Blanton: “Mr. J.B. Blues” and “Pitter Panther Patter.”. * Duke Ellington: 1938. Smithsonian: 2003, 2LP set, 1938, c1976. * Duke Ellington: 1939. Smithsonian: 2010, 2LP set, 1939, c1977. * Duke Ellington: 1940. Smithsonian: 2013, 2LP set, 1940, c1978. * Duke Ellington: 1941. Smithsonian: 2027, 2LP set, 1941, c1981. + Never No Lament: The Blanton-Webster Band. RCA Bluebird: 50857 (Victor), 3CD set, 1940-42, c2003. Probably Ellington's best band: Johnny Hodges, Cootie Williams, Joe Nanton, Ben Webster, Jimmy Blanton, and others; includes “Jack the Bear,” “Conga Brava,” “Concerto for Cootie,” “Cottontail,” “Never No Lament (Do Nothing Til You Here from Me),” “A Portrait of Bert Williams,” “Harlem Air Shaft,” “All Too Soon,” “Sepia Panorama,” “In a Mellotone,” “Warm Valley,” “The Flaming Sword,” “Take the ‘A’ Train,” “Blue Serge,” “Bakiff,” “Chelsea Bridge,” “Raincheck,” “I Don’t Know What Kind of Blues I Got,” “Perdido,” “Main Stem,” and the 1940 Ellington-Blanton duets: “Mr. J.B. Blues” and “Pitter Panther Patter.” + The Complete RCA Victor Mid-Forties Recordings. RCA Victor: 63394 (6641), 3CD set, 1944-46, c1999. Includes Mercer Ellington's “Things Ain't What They Used to Be” with solos by Johnny Hodges, Lawrence Brown, and Taft Jordan; a 1945 version of “Mood Indigo” with a wordless vocal; the “Perfume Suite,” “Blue Cellophane”, “Transblucency,” “Black, Brown and Beige,” “I’m Beginning to See the Light,” and others. + The Best of the Complete RCA Victor Recordings, 1944-1946. RCA Bluebird: 63462, 1944-46, c2000. Includes “Things Ain't What They Used to Be,” “Transblucency,” and “I'm Beginning to See the Light.” * Happy-Go-Luck Local. Musicraft: 52, 1946, c1992.

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Includes a version of the “Deep South Suite” and “Golden Cress.” * 1946. Classics: 1015 (Victor/Musicraft), 1946, c1998. Includes a version of the “Deep South Suite.” * 1946-1947. Classics: 1051 (Musicraft/Columbia), 1946-47, c1999. Big band with Lawrence Brown, Tyree Glenn, Ray Nance, Shorty Baker, Dud Bascomb, Jimmy Hamilton, Johnny Hodges, and Oscar Pettiford; includes “Golden Cress” (featuring Lawrence Brown). + 1947. Classics: 1086 (Columbia), 1947, c1999. Includes “Boogie Bop Blues” (which has some great bass work) and “Sultry Serenade” (with solos by Tyree Glenn and Hodges). * 1947-1948. Classics: 1119 (Columbia), 1947-48, c2000. Includes “On a Turquoise Cloud” (with a wordless vocal, clarinet and muted trumpet, violin, and bass clarinet). (Note: All Classics label items are imports.) Ellington Uptown. Columbia/Legacy: 87066 (CL 830), 1947, 1951-52, c2004. Sbme Big band featuring Russell Procope and Jimmy Hamilton (“The Mooche”), Paul Gonsalves (“Take the 'A' Train”), and Louis Bellson (“Skin Deep”); also includes the “Liberian Suite” (1947). * The Complete Capitol Recordings of Duke Ellington. Mosaic: MD5-160, 5CD set, 1953-55, c1995. Includes all of Ellington Showcase. * Ellington Showcase. Capitol: T 679, LP, 1953-55, c[1956]. Big band including a feature for Harry Carney (“Serious Serenade”), a feature for Cat Anderson (“La Virgen de la Macarena”), and a new version of “Harlem Airshaft” (with Clark Terry soloing in the spots where Cootie Williams and Barney Bigard had soloed, Quentin Jackson taking what had been Tricky Sam Nanton's part on the original 1940 version, and other interesting differences that help cast light on the original). * The Best of Duke Ellington. Capitol Jazz: 31501, 1953-55, c1995. Includes “Serious Serenade,” “Harlem Airshaft,” and others. * Historically Speaking - The Duke. Avenue Jazz: 74315 (Bethlehem 60), 1956, c2001. Big band featuring Jimmy Hamilton, Ray Nance, Johnny Hodges, Quentin Jackson, and Britt Woodman; the first includes a violin feature for Ray Nance (“Lonesome Lullaby”) and two Billy Strayhorn pieces (“Midriff” and “Upper Manhattan Medical Group” - mistakenly credited to Ellington). Duke Ellington Presents.... Shout Factory: 37470 (Bethlehem 6005), 1956, c2005. Contains the Harry Carney feature, “Frustration.” Ellington at Newport: The Complete Concert. Columbia/Legacy: C2K 64932 (CL 934), 2CD set, 1956, c1999.

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+ A Drum Is a Woman. Columbia: CL 951, LP, 1956, c1957. *Duke 56/62. Vol. 1. CBS/France: 88653, 2LP set, 1956-62, c1984. Includes “Cop Out” (1957) featuring Paul Gonsalves. Such Sweet Thunder. Columbia/Legacy: 65568 (CL 1033), 1956-57, c1999. Sbme + Ellington Indigos. Columbia: 44444 (CS 8053/CL 1085), 1957, c1989. Big band featuring Hodges, Gonsalves, Hamilton, and Harold Shorty Baker; high points are the Hodges solo on “Prelude to a Kiss,” the Gonsalves solo on “Where or When,” and the Baker solo on “Willow Weep for Me.” Note: The music on the mono copy (CL 1085) of this album is not identical to that on the stereo copy (CS 8053); several different improvisations and a few alterations in ensemble playing occur. The mono copy also contains an entire tune not on the stereo copy, although it is mistakenly listed on the stereo copy's album jacket. That tune, “The Sky Fell Down,” is one of the prettiest Ellington compositions on the mono album, and it contains a gorgeous Ray Nance trumpet solo. The reissue (44444) has a previously unissued “All the Things You Are” and an alternate take of “Autumn Leaves” but not “The Sky Fell Down.” The Cosmic Scene. Mosaic: MCD-1001 (Columbia CL 1198), 1958, c2006. (mail order) Recording with abbreviated instrumentation: Hamilton, Gonsalves, and Terry plus three trombones, piano, bass, and drums. * Duke Ellington and His Orchestra Live at Newport 1958. Columbia/Legacy: C2K 53584 (CS 8072/CL 1245), 2CD set, 1958, c1994. Featuring Clark Terry, Jimmy Hamilton, Paul Gonsalves, Ray Nance, Harry Carney, Gerry Mulligan, and others. Duke’s Mixture/ At the Bal Masque. Collectables: 7856 (Columbia CS 8098/CL 1282), 1958, c2007. + Anatomy of a Murder [soundtrack]. Columbia/Legacy: 65569 (CL 1630), 1959, c1999. + Festival Session. Columbia/Legacy: 87044 (CL 1400), 1959, c2004. Big band with Gonsalves, Terry, Hamilton, Hodges, Russell Procope, and Nance: “Idiom '59,” “Launching Pad,” and others. The Ellington Suites. Fantasy: OJC-446 (Pablo 2310-762), 1959, 1971-72, c1990. Includes “Queen's Suite,” “Goutelas Suite,” and the “UWIS Suite.” Three Suites. Columbia: 46825 (CS 8397), 1960, c1990. Includes “Suite Thursday.”

Sbme Special Mkts.

Paris Blues [soundtrack]. Jazz Sound Track: 248137 (United Artists 4092), 1960, c2011. (import)

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Duke Ellington's Concert of Sacred Music. Status: 1015 c1997. (import)

(RCA

LSP-3582),

1965,

The Far East Suite. RCA Bluebird: 55614 (LSP-3782), 1966, c2003. Second Sacred Concert. Prestige: 24045 (Fantasy 8407/8), 1968, c1990. Latin American Suite. Fantasy: OJC-469 (8419), 1968, c1990. Afro-Eurasian Eclipse. Fantasy: OJC-645 (9498), 1971, c1991. Togo Brava Suite. Blue Note: 30082 (United Artists UAL 273/4), 1971, c1994. * Duke Ellington's Third Sacred Concert. RCA: APL1-0785, LP, 1973, c1975. see ANTHOLOGIES - Anthology of Big Band Swing, Big Band Jazz, Big Band Renaissance, The Greatest Jazz Concert in the World, Jazz Piano, Jive at Five, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz BILL EVANS, 1929-1980 (Piano) Bill Evans: The Complete Riverside Recordings. Riverside: 018, 12CD set, 1956-63, c1987. New Jazz Conceptions. Fantasy: OJC-025 (Riverside R-223), 1956, c1987. With Teddy Kotick and Paul Motian: “I Love You,” “Five,” “Easy Living,” “Displacement,” “Conception,” “Speak Low,” “Our Delight,” “My Romance,” and “I Got It Bad.” Everybody Digs Bill Evans. Riverside: 30182 (1129), 1958, c2007. With Sam Jones and Philly Joe Jones: “Peace Piece,” “Young and Foolish,” “What Is There to Say?,” “Oleo,” and others; Evans considered this to be among his very best playing on record. Portrait in Jazz. Riverside: 30678 (315), 1959, c2008. Includes “Autumn Leaves,” and “Peri’s Scope.” Explorations. Riverside: 32842 (351), 1961, c2011. With Scott LaFaro and Paul Motian; includes “Nardis.”. The Complete Village Vanguard Recordings, 1961. Riverside: 3RCD-4443, 3CD set, 1961, c2005. At the Village Vanguard. Riverside: FCD-60-017, 1961, c1986; or Sunday at the Village Vanguard. Riverside: 30509 (RLP-9376), 1961, c2008; and Waltz for Debby. Riverside: 32326 (RLP-9399), 1961, c2010. With LaFaro and Motian: “My Foolish Heart,” “Waltz for Debby,” “Alice in Wonderland,” “Gloria's Step,” “Milestones,” “Solar,” “All of You,” and others. Undercurrent. Blue Note: 38228 (UA 14003), 1962, c2002. Duets with Jim Hall.

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Intermodulation. Verve: 833 771-2 (V6-8655), 1966, c1988. Duets with Jim Hall. see MILES DAVIS - Miles Davis & John Coltrane: The Complete Columbia Recordings, Miles and Coltrane, '58 Sessions, and Kind of Blue see OLIVER NELSON - Blues and the Abstract Truth see ANTHOLOGIES - The Birth of the Third Stream, Jazz Piano, and The Smithsonian Collection of Classic Jazz (revised) BILL EVANS AS AN INFLUENCE * Piano Jazz in Czechoslovakia. Supraphon: SUA ST 55991, LP, c1968. Czech import anthology; the Jan Hammer Trio selections, “Responsibility” and “Autumn Leaves,” display Evans influence. Jan Hammer. The First Seven Days. Columbia/Legacy: 85401 (Nemperor 432), 1975, c2003. Sbme Special Mkts. “Light/Sun” and “Fourth Day” display Bill Evans influence. GIL EVANS, 1912-1988 (Composer/Arranger) see MILES DAVIS - The Birth of the Cool, Miles Davis/Gil Evans: The Complete Columbia Studio Recordings, Miles Ahead, Porgy and Bess, and Sketches of Spain see CLAUDE THORNHILL - Claude Thornhill and His Orchestra Play the Great Jazz Arrangements of Gil Evans, Gerry Mulligan, and Ralph Aldrich and Best of the Big Bands see ANTHOLOGIES - The Bebop Era, Big Band Jazz, Big Band Renaissance, and Jazz in Revolution ELLA FITZGERALD, 1918-1996 (Jazz Singer) Ken Burns JAZZ Collection: Ella Fitzgerald. Verve: 549 087-2 (Decca/Verve), 1936-63, c2000. The Best of Ella Fitzgerald. Decca Jazz/GRP: 659, 1935-55, c1996. Includes “A-Tisket A-Tasket,” “How High the Moon,” and others. Ella Fitzgerald Sings the Cole Porter Song Book. Verve: 314 537 257-2 (4001-2), 2CD set, 1956, c1997. Ella Fitzgerald Sings the Rodgers & Hart Song Book. Verve: 314 537 258-2 (4002-2), 2CD set, 1956, c1997. + Ella Fitzgerald Sings the George & Ira Gershwin Song Book. Verve: 314 539 759-2 (4029-5), 4CD set, 1959, c1998. Ella Fitzgerald at the Opera House. Verve: 831 269-2 (MGV 8264), 1957, c1986. Includes “Lady Be Good.”

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The Complete Ella in Berlin: Mack the Knife. Verve: 314 519 564-2 (MGV 4041), 1960, c1993. Includes “Mack the Knife” and “How High the Moon.” Clap Hands, Here Comes Charlie! Verve: 422 835 646-2 (MGV 4053), 1961, c1989. Includes “Spring Can Really Hang You Up the Most” and “Cry Me a River.” see CHARLIE PARKER - Charlie Parker: Jazz at the Philharmonic 1949 CHARLES GAYLE, 1939- (Tenor Sax/Piano) Consecration. Black Saint: 120 138-2, 1993, c1993. Kingdom Come. Knitting Factory: 157, c1994. STAN GETZ, 1927-1991 (Tenor Sax) The Complete Savoy Recordings. Savoy Jazz: 17121 (12114), 1946-47, c2002. Includes “Opus de Bop,” “And the Angels Swing,” “Running Water,” and “Don't Worry About Me.” Quartets. Fantasy: OJC-121 (Prestige 7002), 1949-50, c1991. With Al Haig: “There's a Small Hotel,” “Indian Summer,” and others. + The Complete Roost Recordings. Roost/Blue Note: 59622, 3CD set, 1950-54, c1997. With Al Haig, Horace Silver, Jimmy Raney, and Roy Haynes; also includes “Moonlight in Vermont” (1952) with guitarist Johnny Smith. * Best of the Roost Years. Blue Note: 98144, 1950-52, c1991. * The Roost Quartets. Roulette Jazz: 96052, 1950-51, c1991. With Al Haig, Horace Silver, Tommy Potter, and Roy Haynes. * At Storyville. Roulette: 94507 (Roost), 1951, c1990. With Jimmy Raney, Al Haig: “Rubber Neck,” “Mosquito Knees,” “Hershey Bar,” and others. + West Coast Jazz. Verve: 314 557 549-2 (Norgran 1032), 1955, c1999. + Best of the West Coast Sessions. Verve: 314 537 084-2, 1955-57, c1997. Stan Getz and J.J. Johnson at the Opera House. Verve: 831 272-2 (MGV-8265), 1957, c1986. Live concert recording by Stan Getz, J.J. Johnson, Oscar Peterson, Herb Ellis, Ray Brown, and Connie Kay: “Billie's Bounce,” “My Funny Valentine,” “Crazy Rhythm,” “Yesterdays,” “It Never Entered My Mind,” and “Blues in the Closet”; note that the original stereo version (Verve 68490) was not the same music as in the mono version (V6-8265); the CD reissue includes both stereo and mono versions.

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Focus. Verve: 314 521 419-2 (V6-8412), 1961, c1997. Eddie Sauter string arrangements; Getz improvises with no preset melody or chord progressions, using only the string parts as his guide. Jazz Samba. Verve: 314 521 413-2 (MGV-8432), 1962, c1997. With Charlie Byrd: “Desafinado.” Getz/Gilberto. Verve: 314 521 414-2 (V6-8545), 1963, c1997. With Antonio Carlos Jobim, Joao and Astrud Gilberto: “Girl from Ipanema,” “Desafinado,” and others. see ANTHOLOGIES - The Bebop Era DIZZY GILLESPIE, 1917-1993 (Trumpet) Ken Burns JAZZ Collection: Dizzy Gillespie. Verve: 549 086-2, 1940-67, c2000. * The Development of an American Artist. Smithsonian: 2004, 2LP set, 1940-46, c1976. Gillespie with his own groups and the bands of Les Hite, Cab Calloway, Coleman Hawkins, Billy Eckstine, Boyd Raeburn, and others; includes “I Can’t Get Started” (1945). + Odyssey 1945-1952. Savoy Jazz: 17109 (Musicraft/Savoy), 3CD set, 1945-52, c2002. Groovin’ High. Savoy: 0152 (Guild/Musicraft), 1945-46, c1992. Groovin’ High: Classic Recordings. Naxos Jazz: 8.120582, 1942-49, c2002. Shaw ‘Nuff. Collectables: 7729 (Musicraft), 1945-46, c2006. Combos with Charlie Parker, Al Haig, Curly Russell and Sid Catlett (1945): “Salt Peanuts,” “Hot House,” “All the Things You Are,” “Groovin’ High,” “Shaw ‘Nuff,” and “Blue ‘n’ Boogie”; big band (1946): “Things to Come” and “Emanon.” Odyssey also contains all recordings from School Days (below). Dizzy Gillespie, Charlie Parker: Town Hall, New York City, June 22, 1945. Uptown: 27.51, 1945, c2005. The Complete RCA Victor Recordings. RCA Bluebird: 66528, 2CD set, 1937-1949, c1995. Combo with Don Byas, Bill DeArango, Milt Jackson, Al Haig, Ray Brown, and J.C. Heard (1946): “Anthropology,” “52nd St. Theme,” “Ol' Man Rebop,” and “Night in Tunisia”; big band dates (1947-49) include the Gillespie-George Russell collaboration “Cubano Be - Cubano Bop,” Gillespie's “Manteca” (both featuring conga drummer Chano Pozo), Tadd Dameron's “Good Bait,” John Lewis’s “Two Bass Hit,” Gillespie’s “Woody’n You (Algo Bueno),” and others. Night in Tunisia: The Very Best of…. RCA Bluebird: 84866, 1944-49, c2006. Includes most of the above titles. + School Days. Savoy Jazz: 17256 (Regent 6043), 1947, 1951-52, c2003. Includes “We Love to Boogie” (1951) which contains an early example of John Coltrane's solo style (included here only as an example of Coltrane).

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Duets. Verve: 835 253-2 (MGV-8260), 1957, c1988. With Sonny Stitt and Sonny Rollins; includes a version of Gillespie’s “Con Alma.” Sonny Side Up. Verve: 314 521 426-2 (MGV-8262), 1957, c1997. With Stitt, Rollins, Ray Bryant, Tom Bryant, and Charlie Persip: “Eternal Triangle,” “I Know That You Know,” etc.; contains some of the fastest, most fluent tenor sax playing on record; Rollins, Gillespie, and Stitt keep up with each other at their fiery best on “Eternal Triangle”; some authorities consider this to be the best Rollins on record. Dizzy Gillespie at Newport. Verve: 513 754-2 (V6-8830/MGV8242), 1957, c1992. Live recording made by Gillespie big band at Newport Jazz Festival; with Lee Morgan, Al Grey, Benny Golson, Billy Mitchell, Wynton Kelly, etc.; Gillespie considers his “Dizzy's Blues” solo here to be one of his best on record. see CHARLIE PARKER - Savoy and Dial recordings and Bird and Diz see ANTHOLOGIES - Bebop, The Bebop Revolution, Big Band Jazz, Big Band Renaissance, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz BENNY GOODMAN, 1909-1986 (Clarinet/Big Band) Ken Burns JAZZ Collection: Benny Goodman. Sony/Legacy: 61445, 1927-49, c2000. * B.G. & Big Tea in NYC. Decca Jazz/GRP: 609, 1929-34, c1992. Red Nichols and His Five Pennies: “Dinah” with Goodman and Jack Teagarden (1929); plus Joe Venuti-Eddie Lang: “Farewell Blues” and “Beale St. Blues” with Teagarden, Frank Signorelli, Joe Tarto, and Neil Marshall (1931). + The Birth of Swing. RCA Bluebird: 61038 (Victor), 3CD set, 1935-36, c1991. Big band recordings including “Japanese Sandman,” “Blue Skies,” “When Buddha Smiles,” “King Porter Stomp,” and “Down South Camp Meeting.” Sing Sing Sing. RCA Bluebird: 5630 (Victor), 1935-38, c1987. Big band recordings including “King Porter Stomp,” “Down South Camp Meeting,” and “Sing Sing Sing.” The Centennial Collection. RCA Bluebird: 60088 (Victor), 1935-39, c2004. + The King of Swing. RCA Bluebird: 63902 (Victor), 1935-39, c2002. Big band recordings including “King Porter Stomp,” “Sometimes I’m Happy,” “Wrappin’ It Up,” and “Sing Sing Sing.” + The Harry James Years. Vol. 1. RCA Bluebird: 66155, 1937-38, c1993. + The Complete RCA Victor Small Group Recordings. Victor Jazz: 68764, 3CD set, 1935-39, c1997. + The Legendary Small Groups. RCA Bluebird: 63994, 1935-39, c2002. Trio and quartet recordings with Teddy Wilson, Lionel Hampton, and Gene Krupa or Dave Tough; includes “Body and Soul.”

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Benny Goodman at Carnegie Hall. Columbia/Legacy: 65143 (OSL 160), 2CD set, 1938, c1999. Includes “Don't Be That Way,” “One O'Clock Jump,” and “Shine,” with Count Basie, Lester Young, Lionel Hampton, Harry James, Gene Krupa, Teddy Wilson, and others; “Avalon,” “Blue Reverie,” and “Blue Room,” with Johnny Hodges, Teddy Wilson, Gene Krupa, Harry James, and others. + Benny Goodman Sextet Featuring Charlie Christian. Columbia: 45144, 1939-41, c1989. Includes “I Found a New Baby.” see ANTHOLOGIES - Big Band Jazz, Big Band Renaissance, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz DEXTER GORDON, 1923-1990 (Tenor Sax) Settin’ the Pace. Proper: BOX 16 (Savoy, Dial), 4CD set, 1943-50, c2001. (import) Settin’ the Pace. Savoy Jazz: 17027 (12130), 1945-47, c1998. With Argonne Thornton, Gene Ramey, Ed Nicholson (1945): “Blow Mr. Gordon,” “Dexter's Deck,” and others; with Leonard Hawkins, Bud Powell, Curly Russell, and Max Roach (1946): “Long Tall Dexter,” “Dexter Rides Again,” “Dexter Digs In,” and others; with Leo Parker, Tadd Dameron, Curly Russell, and Art Blakey (1947): “Settin' the Pace,” “Dexter's Riff,” etc. Dexter Gordon on Dial: the Complete Sessions. Spotlite: SPJ-130 (Dial), 1947, c1994. With Red Callender, Chuck Thompson or Roy Porter, Charles Fox, Jimmy Rowles, Jimmy Bunn, Teddy Edwards, and Wardell Gray: “Lullaby in Rhythm,” “The Chase,” “Sweet and Lovely,” “The Duel,” “Bikini,” and others. see DIZZY GILLESPIE - Groovin’ High see HERBIE HANCOCK - Takin' Off see ANTHOLOGIES - Jazz in Revolution and The Smithsonian Collection of Classic Jazz KENNY G [Gorelick], 1959- (Soprano Sax) Duotones. Arista: 8496, c1986. Includes “Songbird.” Silhouette. Arista: 8457, c1988. Breathless. Arista: 18646, c1992. The Moment. Arista: 18935, c1996. see JEFF LORBER HERBIE HANCOCK, 1940- (Keyboards) Ken Burns JAZZ Collection: Herbie Hancock. Sony/Legacy: 61446 (Blue Note/Columbia), 1962-96, c2000. Sbme Special Mkts.

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Best of Herbie Hancock: The Blue Note Years. Blue Note: 91142 (89907), 1962-69, c1988. Includes “Watermelon Man,” “Maiden Voyage,” and “Dolphin Dance.” Takin' Off. Blue Note: 92757 (84109), 1962, c2007. With Dexter Gordon, Freddie Hubbard, and Billy Higgins; includes “Watermelon Man.” Empyrean Isles. Blue Note: 98796 (84175), 1964, c1998. With Freddie Hubbard, Ron Carter, and Tony Williams. Maiden Voyage. Blue Note: 95331 (84195), 1965, c1999. Pianist-composer Hancock leading the Miles Davis group of 1963, with trumpeter Freddie Hubbard instead of Davis; with George Coleman, Ron Carter, and Tony Williams; all tunes composed by Hancock: “Maiden Voyage,” “Dolphin Dance,” “Little One,” and others; it contains some of Hubbard's best recorded solos and showcases Hancock's best writing. Speak Like a Child. Blue Note: 64468 (84279), 1968, c2005. Includes a trio recording of “The Sorcerer.” The Prisoner. Blue Note: 25649 (84321), 1969, c2000. With solos by Johnny Coles, Joe Henderson, Garnett Brown, and Hancock; the interplay between pianist Hancock, bassist Buster Williams, and drummer Al Heath on “He Who Lives in Fear” conceptually resembles the Bill Evans-Scott LaFaro-Paul Motian approaches; also includes “I Have a Dream.” + Mwandishi Herbie Hancock: The Complete Warner Bros. Recordings. Warner Bros: 45732 (1898/2617), 2CD set, 1969-71, c1994. Originally Mwandishi and Crossings; these are from his space music period that was post-hard bop, pre-jazz/rock. Sextant. Columbia/Legacy: 64983 (32212), 1972, c1998. One of the precursors of the jazz/rock styles.

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Head Hunters. Columbia/Legacy: 65123 (32731), 1973, c1997. Hancock's best-selling record prior to Future Shock; a funk/jazz style: “Chameleon” and a new “Watermelon Man.” Thrust. Columbia/Legacy: 64984 (32965), 1974, c1998. With Hancock (electric piano and synthesizers), Bennie Maupin (soprano and tenor sax, saxello, bass clarinet, alto flute), Paul Jackson (electric bass), Mike Clark (drums), and Bill Summers (percussion); all compositions by Hancock: “Spank A Lee,” “Butterfly,” “Actual Proof,” “Palm Grease”; this recording is included as an example of Hancock's popular mid-1970's band, which was heavily influenced by Sly Stone and funk; Hancock has stated that, along with Miles Davis, My Funny Valentine, Thrust represents his best work.

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* Death Wish. One Way: 26659 (Columbia 33199), 1974, c1996. Film score by Hancock: “Death Wish,” “Suite Revenge,” “Fill Your Hand,” etc.; most arranged by Jerry Peters; this is included as an example of Hancock's versatility as a composer; the first three selections on its second side are beautiful, classical type pieces in the manner of Erik Satie and other early 20th century composers. Future Shock. Columbia/Legacy: 65962 (38814), 1983, c1999. Includes “Rockit.”

Sbme Special Mkts.

see MILES DAVIS - Seven Steps to Heaven, In Europe, My Funny Valentine, Four and More, Miles Davis Quintet 1965-1968: The Complete Columbia Studio Recordings, Miles in Berlin, E.S.P., Plugged Nickel, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro see JOE HENDERSON - Power to the People see WAYNE SHORTER - Speak No Evil see ANTHOLOGIES - Jazz Piano and Ken Burns JAZZ COLEMAN HAWKINS, 1904-1969 (Tenor Sax) Classic Coleman Hawkins Sessions 1922-1947. Mosaic: MD8-251 (Victor/Bluebird/Signature), 8CD set, 1922-1947, c2012. * Ken Burns JAZZ Collection: Coleman Hawkins. Verve: 549 085-2, 1926-63, c2000. The Essential Sides Remastered. JSP: 931, 4CD set, 1929-39, c2006. All pre-“Body and Soul.” The Hawk in Europe. ASV: 5054 (Swing), 1935-37, c1988. In Paris: “Honeysuckle Rose” and “Crazy Rhythm” with Benny Carter and Django Reinhardt. * The Centennial Collection. RCA Bluebird: 60086 (Victor/Bluebird), 1929-57, c2004. Body and Soul. Victor Jazz: 68515 (Victor/Bluebird), 1939-56, c1996. All sample a variety of recording sessions including “Body and Soul” (1939) and a 1947 bop date with Fats Navarro (“Half Step Down, Please”); “When Lights Are Low.” + Tenor Giants: Coleman Hawkins and Chu Berry. Commodore/Verve: 543 271-2, 1938-43, c2000. With Benny Carter, Roy Eldridge, and others; includes “I Can’t Believe That You’re in Love with Me” (1940). * The Complete Coleman Hawkins on Keynote. Mercury: 830 960, 4CD set, 1944, c1987. Includes sessions with Teddy Wilson, Charlie Shavers, Billy Taylor, and Denzil Best: “My Man” and “El Salon de Gutbucket”. see BENNY CARTER - Further Definitions see LIONEL HAMPTON - Ring Dem Bells

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see FLETCHER HENDERSON see DJANGO REINHARDT - All Star Sessions see ANTHOLOGIES - Classic Tenors, Jive at Five, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz JOE HENDERSON, 1937-2001 (Tenor Sax) Page One. Blue Note: 98795 (84140), 1963, c1999. In ‘n’ Out. Blue Note: 96507 (84166), 1964, c2004. Joe Henderson: The Milestone Years. Milestone: 4413, 8CD set, 1967-75, c1994. NOTE: includes all Milestone sessions cited in text. Tetragon. Fantasy: OJC-844 (Milestone 9017), 1967-68, c1995. With Kenny Barron or Don Friedman, Ron Carter, Louis Hayes or Jack DeJohnette: “Invitation,” “Tetragon,” and others. Power to the People. Milestone: 30130 (9024), 1969, c2007. With Herbie Hancock, Ron Carter, Jack DeJohnette, and, on two tunes, Mike Lawrence: “Black Narcissus,” “Power to the People,” “Lazy Afternoon,” and others; four tunes are written by Henderson, one by Carter. + Double Rainbow: The Music of Antonio Carlos Jobim. Verve: 314 527 222-2, 1994, c1995. see HERBIE HANCOCK - The Prisoner see HORACE SILVER - Song for My Father and Cape Verdean Blues EARL HINES, 1903-1983 (Piano) * The Earl Hines Collection: Piano Solos, 1928-1940. Collector’s Classics: COCD-11 (QRS/Okeh/Brunswick/Bluebird), 1928-40, c1993. (import) Includes “Blues in Thirds,” “Chimes in Blues,” and “Fifty-Seven Varieties.” * Piano Man. RCA Bluebird: 6750, 1939-42, c1989. Solo and big band; includes “Blues in Thirds” with Sidney Bechet. see LOUIS ARMSTRONG - Louis Armstrong and Earl Hines and Hot Five. Vol. 3 see ANTHOLOGIES - Jazz Piano and Smithsonian Collection of Classic Jazz BILLIE HOLIDAY, 1915-1959 (Singer) Ken Burns JAZZ Collection: Billie Holiday. Verve: 549 081-2 (Columbia/Decca/Verve), 1935-58, c2000. Lady Day: The Master Takes and Singles. Columbia/Legacy: 10955 (Columbia/Brunswick/Vocalion/OKeh), 4CD set, 1935-42, c2007.

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Billie Holiday/Lester Young: A Musical Romance. Columbia/Legacy: 86635, 1937-38, 1958, c2002. Sbme Special Mkts. The Billie Holiday Collection 1. Columbia/Legacy: 87067, 1935-36, c2003. + The Billie Holiday Collection 2. Columbia/Legacy: 87068, 1936-37, c2003. + The Billie Holiday Collection 3. Columbia/Legacy: 87069, 1937-39, c2003. All with Lester Young, Buck Clayton, Teddy Wilson, Roy Eldridge, and others; includes “He’s Funny That Way”; “Back in Your Own Backyard” is only on the 4CD set. + The Billie Holiday Collection 4. Columbia/Legacy: 87070, 1939-44, c2003. Includes “Gloomy Sunday” and “God Bless the Child.” The Complete Commodore Recordings. Commodore/GRP: CMD2-401, 2CD set, 1939, 1944, c1997. The Commodore Master Takes. Commodore/Verve: 543 272-2, 1939, 1944, c2000. Includes “Strange Fruit” and “Fine and Mellow.” The Complete Decca Recordings. Decca Jazz/GRP: GRD2-601, 2CD set, 1944-50, c1991. Includes “Lover Man,” “Good Morning Heartache,” and “God Bless the Child.” + Solitude. Billie Holiday Story, 2. Verve: 314 519 810-2 (Clef), 1952, c1993. Includes “These Foolish Things.” Lady in Satin. Columbia/Legacy: 65144 (CS8048), 1958, c1997. See ANTHOLOGIES - Ken Burns JAZZ and Smithsonian Collection of Classic

Jazz

FREDDIE HUBBARD, 1938-2008 (Trumpet) see ART BLAKEY - Mosaic, Three Blind Mice, Caravan, and Ugetsu see ORNETTE COLEMAN - Free Jazz see JOHN COLTRANE - Olè see HERBIE HANCOCK - Maiden Voyage and Empyrean Isles for some of Hubbard's best recorded solos see J.J. JOHNSON - J.J. Inc. see OLIVER NELSON - Blues and the Abstract Truth see WAYNE SHORTER - Speak No Evil IRAKERE (Cuban band) The Best of Irakere. Columbia: 57791, 1978-79, c1994. Sbme Special Mkts. With Chucho Valdés, Paquito D’Rivera, and Arturo Sandoval. + Live at Ronnie Scott’s. World Pacific: 80598, 1991, c1993. With Chucho Valdés. BOB JAMES, 1939- (Keyboards) Bob James & Earl Klugh: One on One. Koch: 9941 (Warner Bros. 45141), 1979, c2006.

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Double Vision. Warner Bros.: 25393, c1986. With David Sanborn. Fourplay: Fourplay. Warner Bros.: 26656, c1991. Fourplay: Between the Sheets. Warner Bros.: 45340, c1993. KEITH JARRETT, 1945- (Piano) * Foundations: The Keith Jarrett Anthology. Rhino: 71593, 2CD set, 1966-71, c1994. Includes work with Art Blakey, Charles Lloyd, Gary Burton, and trio/quartet with Charlie Haden, Paul Motian, and Dewey Redman. Somewhere Before. Atlantic (Vortex 2012), 1969, c2010. (import) With Charlie Haden and Paul Motian; includes “Pretty Ballad.” Facing You. ECM: 1017, 1971, c2000. Solo piano; all compositions by Jarrett: “In Front,” “Ritooria,” and others. In the Light. ECM: 1033/34, 2CD set, 1973, c2000. The Impulse Years 1973-1974. Impulse!: IMPD4-237, 4CD set, 1973-74, c1997. Includes Death and the Flower, Backhand, and other material. + Death and the Flower. Impulse!: 139 (A-9301), 1974, c1994. Quartet with Dewey Redman, Charlie Haden, and Paul Motian. + Backhand. Impulse!: 9305, LP, 1974, c1975. With Redman, Haden, Motian, and Guilherme Franco: “In Flight,” “Kuum,” “Valpallia,” and “Backhand.” Belonging. ECM: 1050, 1974, c2000. With Garbarek, Palle Danielsson, and Jon Christensen; all tunes by Jarrett: “Spiral Dance,” “Blossom,” “Long as You Know,” “You're Living Yours,” “Belonging,” “The Windup,” and “Solstice.” + Mysteries: the Impulse! Years. Impulse!: IMPD4-189, 4CD set, 1975-76, c1996. With Redman, Haden, Motian, and Guilherme Franco; includes Shades (A-9322), Byablue (A-9331), Bop-Be (A-9334), and additional material; songs include “Shades of Jazz,” “Pocket Full of Cherry,” and “Rainbow.” Staircase. ECM: 1090, 2CD set, 1976, c2000. Solo piano. Eyes of the Heart. ECM: 1150, 1976, c2000. Quartet with Redman, Haden, and Motian; includes “Encore.” * Silence. Impulse!: 117 (A-9331/A-9334), 1977, c1992. Quartet with Redman, Haden, and Motian; includes Byablue (9331) and Bop-Be (9334).

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My Song. ECM: 1115, 1977, c1999. With Jan Garbarek, Palle Danielsson, and Jon Christensen. The Cure. ECM: 1440, 1990, c1991. Trio with Gary Peacock and Jack DeJohnette. Radiance. ECM: 1960/61, 2CD set, 2000, c2005. Solo piano. see ANTHOLOGIES - Jazz Piano KEITH JARRETT AS SIDEMAN Charles Lloyd: Forest Flower/Soundtrack. Rhino: 71746 (Atlantic 1473/1519), 1966, 1969, c1994. see Foundations: The Keith Jarrett Anthology (above) See ART BLAKEY – Buttercorn Lady see CHARLIE HADEN - Closeness KEITH JARRETT AS INFLUENCE + Art Lande & Jan Garbarek: Red Lanta. ECM: 1038, 1973, c1987. Lande's playing here suggests the work of Keith Jarrett. * Dave Liebman: Forgotten Fantasies. A&M/Horizon: SP-709, LP, 1975, c1976. With Richie Beirach; the piano work here suggests Jarrett. Brad Mehldau: Art of the Trio 4: Back at The Vanguard. Warner Bros.: 47463, 1999, c1999. J. J. JOHNSON, 1924-2001 (Trombone) + Origins: The Savoy Sessions. Savoy Jazz: 17127 (12106), 1946-49, c2002. Includes “Coppin' the Bop,” “Jay Jay,” and “Jay-bird.” The Eminent Jay Jay Johnson. Vols. 1 & 2. Blue Note: 32143/32144 (1505/1506), 2CDs, 1953-55, c2001. With Clifford Brown, Jimmy Heath, John Lewis, Percy Heath, and Kenny Clarke (1953): “Turnpike,” “Lover Man,” “Get Happy,” “Sketch 1,” “Capri,” and “It Could Happen to You”; with Wynton Kelly, Charles Mingus, Kenny Clarke, and Sabu (1954): “Jay,” “Old Devil Moon”; with Hank Mobley, Horace Silver, and Paul Chambers (1955). * The Complete Columbia J.J. Johnson Small Group Sessions. Mosaic: MD7-169, 7CD set, 1956-61, c1996. Includes First Place, Blue Trombone, J.J. Inc., and others.

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Trombone Master. Columbia: 44443, 1957-60, c1989. Compilation from various Columbia sessions. First Place. American Jazz Classics: 99003 (Columbia CL 1030), 1957, c2009. (import) With Tommy Flanagan, Paul Chambers, and Max Roach. Blue Trombone. American Jazz Classics: 99002 (Columbia CL 1303), 1957, c2009. (import) With Bobby Jaspar, Tommy Flanagan, and Elvin Jones. + J.J. Inc. Columbia/Legacy: 65296 (CL 1606), 1960, c1997. With Freddie Hubbard, Clifford Jordan, and Cedar Walton; includes “Aquarius.” see STAN GETZ - Stan Getz and J.J. Johnson at the Opera House see ANTHOLOGIES - The Birth of the Third Stream JAMES P. JOHNSON, 1894-1955 (Piano) * Harlem Stride Piano. Hot ‘n Sweet/EPM: 151032 (OKeh/Victor/Columbia), 1921-29, c1992. * Harlem Stride Piano 1921-1929. Jazz Archives/EPM: 158952, 1921-29, c1992. Both include “Carolina Shout” (1921). + Snowy Morning Blues. Decca Jazz/GRP: 604 (Brunswick), 1930, 1944, c1991. Includes “You've Got to Be Modernistic” and “Jingles” (1930). see ANTHOLOGIES - Jazz Piano, Piano in Style, and The Smithsonian Collection of Classic Jazz STAN KENTON, 1912-1979 (Big Band) * The Complete Capitol Studio Recordings of Stan Kenton 1943-47. Mosaic: MD8-163, 8CD set/MQ12-163, 12LP set, 1943-47, c1995. Includes “Artistry in Rhythm,” “Eager Beaver,” “Tampico,” and others. The Best of Stan Kenton. Capitol: 31504, 1943-61, c1995. Includes “Artistry in Rhythm” and “Eager Beaver.” * Innovations Orchestra. Capitol Jazz: 59966, 2CD set, 1950-51, c1997. Includes Pete Rugolo’s “Mirage.” New Concepts of Artistry in Rhythm. Capitol: 92865 (T 383), 1952, c1989. Arrangements by Gerry Mulligan, Bill Russo, Bill Holman; solos by Conte Candoli, Lee Konitz, Maynard Ferguson, and Frank Rosolino: “My Lady,” “23 Degrees N, 82 Degrees W” and “Portrait of a Count.” Adventures in Jazz. Capitol Jazz: 21222 (T 1796), 1961, c1999. With mellophoniums; Kenton felt this to be one of his best recordings; includes Bill Holman's arrangement of “Malaguena” and Dee Barton's “Turtle Talk” and “Waltz of the Prophets.”

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+ Retrospective. Capitol: 97350, 4CD set, 1943-1968, c1992. Includes “Artistry in Rhythm,” “Eager Beaver,” “Tampico,” and others. (The following list of Kenton recordings is organized by arranger.) DEE BARTON + Stan Kenton Conducts the Jazz Compositions of Dee Barton. Creative World: 1022 (Capitol ST 2922), LP, 1967, c1982. ROBERT CURNOW National Anthems of the World. Creative World: 1060, 1972, c2010. Stan Kenton Plays Chicago. Creative World: 1072, 1974, c1992. RUSS GARCIA * Stan Kenton Conducts The Los Angeles Neophonic Orchestra. Capitol: 94502 (SMAS 2424), 1965, c1998. Includes “Adventures in Emotions, Parts I-V.” ROBERT GRAETTINGER + The City of Glass. Capitol: 32084 (T 736), 1951, c1995. BILL HOLMAN * Stan Kenton: The Complete Capitol Recordings of the Holman and Russo Charts. Mosaic: MD4-136, 4CD set, 1950-63, c1991. + Kenton Showcase. Capitol Jazz: 25244 (W 524), 1952-54, c2000. Contemporary Concepts. Capitol: 42310 (T 666), 1955, c2003. STAN KENTON * Collector's Choice. Creative World: 1027, LP, 1951. * Jazz Compositions of Stan Kenton. Creative World: 1078 (Capitol), LP, 1946-56. Includes “Eager Beaver,” “Opus in Pastels,” “Concerto to End All Concertos,” and others. * Kenton/Wagner. Creative World: 1024 (Capitol 2217), LP, 1964. BILL MATHIEU Standards in Silhouette. Capitol: 94503 (1394), 1959, c1998. LENNIE NIEHAUS The Stage Door Swings. Capitol: 77551 (1166),

1958, c2005.

The Sophisticated Approach. Capitol Jazz: 52994 (1674), 1961, c2006. * Adventures in Standards. Creative World: 1025, LP, 1961.

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JOHNNY RICHARDS Cuban Fire. Capitol: 96260 (T 731), 1956, c1991. Back to Balboa. Capitol Jazz: 93094 (Capitol T 995), 1958, c2004. * Adventures in Time: A Concerto for Orchestra. Capitol: 55454 (1844), 1962, c1997. GENE ROLAND * Viva Kenton! Capitol Jazz: 60444 (1305), 1959, c2005. * Adventures in Blues. Capitol Jazz: 20089 (1985), 1960-61, c1999. PETE RUGOLO + Stan Kenton Encores. Creative World: 1034 (Capitol T155), LP, 1946-47, c[197?]. * A Concert in Progressive Jazz. Creative World: 1037 (Capitol T172), LP, 1947. The Kenton Touch/Lush Interlude. Collector’s Choice: 81725 (Capitol 1276), 2CD set, 1958, c2003. BILL RUSSO Portraits on Standards. Capitol: 31571 (T 462), 1951-54, c2001. + Kenton Showcase. Capitol Jazz: 25244 (W 524), 1954, c2000. Includes “Egdon Heath,” and others. see under KENTON ARRANGERS: BILL HOLMAN see ANTHOLOGIES - Big Band Jazz, Big Band Renaissance, and Mirage KING CURTIS [Ousley], 1934-1971 (Tenor Sax) King of the Sax. Fuel 2000: 61378 (Enjoy), [1962], c2004. Have Tenor Sax Will Blow/Live at Small’s Paradise. Collectables: 6418 (Atco), 1959, c2000. Soul Meeting. Prestige: 24033 (7222), 1960, c1994. SEE Oliver Nelson - Soul Battle ANDY KIRK, 1898-1992 (Bandleader) * Andy Kirk & The 12 Clouds of Joy with Mary Lou Williams. ASV Living Era: 5108 (Decca), 1929-40, c1993. * Andy Kirk & Mary Lou Williams: Mary’s Idea. Decca Jazz/GRP: 622, 1936-41, c1993. Mary Lou Williams’ compositions, arrangements, and piano for Andy Kirk and His Twelve Clouds of Joy.

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EARL KLUGH, 1954- (Guitar) Living Inside Your Love. Blue Note: 77544 (Liberty 667), 1976, c2005. * Low Ride. Capitol: 12253 (46007), c1983. see BOB JAMES - One on One LEE KONITZ, 1927- (Alto Sax) Subconscious Lee. Fantasy: OJC-186 (Prestige 7004), 1949-50, c1991. With Lennie Tristano, Warne Marsh, and Shelly Manne; includes “Subconscious Lee,” “Marshmallow,” and “Ice Cream Konitz.” Konitz Meets Mulligan. Pacific Jazz: 46847 (PJ 20142), 1953, c1988. Ideal Scene. Soul Note: 121119, 1986, c1986. Konitz on tenor saxophone. see MILES DAVIS - The Birth of the Cool see GERRY MULLIGAN - Complete Pacific Jazz and Capitol Recordings see STAN KENTON – New Concepts of Artistry in Rhythm see CLAUDE THORNHILL see LENNIE TRISTANO - Intuition and Complete Atlantic Recordings see ANTHOLOGIES - The Bebop Era and Smithsonian Collection of Classic Jazz JEFF LORBER, 1952- (Keyboards) + The Definitive Collection. Arista: 14639, c2000. With Kenny G on some selections. MACHITO [Frank R. Grillo], 1908-1984 (Bandleader/Singer/Maracas) Ritmo Caliente: Machito and His Afro-Cubans. Proper: BOX 48 (Decca/Clef), 4CD set, 1941-51, c2002. Includes Mario Bauzá’s “Tanga” as well as sidemen Brew Moore, Zoot Sims, Milt Jackson, Flip Phillips, Howard McGhee, and Charlie Parker. Carambola: Live at Birdland. Tumbao: TCD 024, 1951, c1992. See ANTHOLOGIES - The Original Mambo Kings BRANFORD MARSALIS, 1960- (Saxophone) + Buckshot Lefonque. Columbia: 57323, c1994.

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WYNTON MARSALIS, 1961- (Trumpet) + Wynton Marsalis. Columbia: 37574, c1982. + Think of One. Columbia: 38641, c1983. Black Codes (From the Underground). Columbia: 40009, 1985, c1985. J Mood. Wounded Bird: 4308 (Columbia 40308), 1985, c2007. + Blood on the Fields. Columbia: 57694, 3CD set, 1995, c1997. see ART BLAKEY - Album of the Year and Keystone 3 JOHN MCLAUGHLIN, 1942- (Guitar) My Goal's Beyond. Douglas: AD-03 (9), 1970, c2010. Includes “Follow Your Heart.” + Mahavishnu Orchestra: The Inner Mounting Flame. Columbia/Legacy: 65523 (31067), 1971, c1998. Mahavishnu Orchestra: Birds of Fire. Columbia/Legacy: 66081 (31996), 1972, c2000. Sbme Special Mkts. see MILES DAVIS - In a Silent Way, Bitches Brew, Jack Johnson, and Live-Evil see TONY WILLIAMS - Emergency! THE MODERN JAZZ QUARTET + MJQ40: The Boxed Set. Atlantic: 82330, 4CD set, 1952-88, c1991. Includes Prestige and Atlantic material. Django. Prestige/Concord: 8110 (P-7057), 1953-54, c2006. With Milt Jackson, John Lewis, Percy Heath, and Kenny Clarke: “Milano,” “Django,” “La Ronde,” “The Queen's Fancy,” and others. Concorde. Prestige: 30653 (P-7005), 1955, c2008. With Jackson, Lewis, Heath, and Connie Kay. European Concert. Collectables: 7836 (Atlantic: 603), 1960, c2007. Concert by Jackson, Lewis, Heath, and Kay: “Django” and “Bluesology.” see ANTHOLOGIES - Ken Burns JAZZ and Nica's Dream

THELONIOUS MONK, 1917-1982 (Piano) Ken Burns JAZZ Collection: Thelonious Monk. Sony/Legacy: 61449 (Blue Note/Prestige/Riverside/Columbia/Black Lion), 1947-71, c2000.

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+ The Complete Blue Note Recordings of Thelonious Monk. Blue Note: 30363, 4CD set, 1947-52, 1957, c1994. Genius of Modern Music. Vols. 1 & 2. Blue Note: 32138/32139 (1510/1511), 2CDs, 1947-52, c2001. With Milt Jackson, Art Blakey, Idris Sulieman, etc.: “Humph,” “In Walked Bud,” “Epistrophy,” “Misterioso,” “Well You Needn't,” “Off Minor,” “Straight No Chaser,” “Evidence,” “Criss Cross,” “’Round Midnight,” and others. Best of Thelonious Monk: The Blue Note Years. Blue Note: 95636, 1947-52, c1991. Includes many of the above selections. The Complete Prestige Recordings. Fantasy: 4428, 3CD set, 1944, 1952-54, c2000. Includes “Smoke Gets in Your Eyes”; also includes sessions led by Coleman Hawkins (1944) and Miles Davis (1954): “Bag’s Groove.” Thelonious Monk: The Complete Riverside Recordings. Riverside: 022, 15CD set, 1955-1961, c1986. Thelonious Himself. Riverside: 30510 (RLP 235), 1957, c2008. Solo piano: “Functional,” “I Should Care,” and “'Round Midnight.” Thelonious Monk Quartet with John Coltrane at Carnegie Hall. Blue Note: 35173, 1957, c2005. Thelonious in Action. Fantasy: OJC-103 (Riverside 262), 1958, c1988. With Johnny Griffin at the Five Spot Cafe; includes “Rhythm-‘n-ing.” Criss Cross. Columbia/Legacy: 63537 (CS8838/CL2038), 1963, c2003. Includes “Tea for Two.” Sbme Special Mkts. It’s Monk's Time. Columbia/Legacy: 63532 (CS 8984/CL 2184), 1964, c2003. With Charlie Rouse, Butch Warren, and Ben Riley: “Brake's Sake,” “Lulu's Back in Town,” and “Nice Work If You Can Get It.” see MILES DAVIS - Miles Davis and the Modern Jazz Giants and Bag's Groove see CHARLIE PARKER - Bird and Diz and Bird: Complete on Verve see ANTHOLOGIES - Bebop, Jazz Piano, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz WES MONTGOMERY, 1925-1968 (Guitar) Incredible Jazz Guitar. Riverside: 30790 (RLP 9320), 1960, c2008. With Tommy Flanagan, Percy Heath, and Al Heath: “West Coast Blues,” “Mister Walker,” “Four on Six,” and others. + Impressions: The Verve Jazz Sides. Verve: 521 690-2, 2CD set, 1964-66, c1995. Bumpin’. Verve: 314 539 062-2 (V6-8625), 1965, c1997.

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Smokin' at the Half Note. Verve: B0003934-02 (V6-8633), 1965, c2005. With Wynton Kelly, Paul Chambers, and Jimmy Cobb. A Day in the Life. A&M: 75021 0816 (3001), 1967, c1989. JELLY ROLL MORTON, 1890-1941 (Piano/Composer/Bandleader) Jelly Roll Morton. Milestone: 47018 (Gennett), 1923-26, c1992. Includes “Mamanita” and “The Pearls.” * The Pianist and Composer. Smithsonian: RD-043, 1923-26, c1991. Jelly Roll Morton: 1926-1930. JSP: 903, 5CD set (Victor), 1926-30, c[1991]. (import) * The Jelly Roll Morton Centennial: His Complete Victor Recordings. RCA Bluebird: 2361, 5CD set, 1926-30, 1939, c1990. + The Pearls. RCA Bluebird: 6588 (Victor), 1926-38, c1988. * Chicago: The Red Hot Peppers. Smithsonian: RD-044 (Victor), 1926-28, c1991. Birth of the Hot: The Classic Chicago “Red Hot Peppers” Sessions. RCA Bluebird: 66641, 1926-27, c1993. Sbme Special Mkts. With Kid Ory, George Mitchell, Johnny St. Cyr, and others: “Black Bottom Stomp,” “The Chant,” “Dead Man Blues,” and others; also “Wolverine Blues” with Johnny and Baby Dodds. + Jelly Roll Morton: The Complete Library of Congress Recordings by Alan Lomax. Rounder: 1888, 8CD set + book, 1938, c2005. Features Morton talking and playing. Kansas City Stomp. The Library of Congress Recordings, v. 1. Rounder: 1091, 1938, c1993. Anamule Dance. The Library of Congress Recordings, v. 2. Rounder: 1092, 1938, c1993. The Pearls. The Library of Congress Recordings, v. 3. Rounder: 1093, 1938, c1993. Winin' Boy Blues. The Library of Congress Recordings, v. 4. Rounder: 1094, 1938, c1993. The 4 single CDs feature mostly just the musical selections. see ANTHOLOGIES - Jazz Piano, Ken Burns JAZZ, Piano in Style, Riverside Collection of Classic Jazz, and The Smithsonian Collection of Classic Jazz

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GERRY MULLIGAN, 1927-1996 (Baritone Sax) * The Complete Pacific Jazz and Capitol Recordings of the Original Gerry Mulligan Quartet and Tentette with Chet Baker. Mosaic: MD3-102, 3CD set, 1952-53, c1989. With Chet Baker, Bob Whitlock, and Chico Hamilton (1952): “Walkin' Shoes,” “Soft Shoe,” and “Freeway”; live session with Lee Konitz, Baker, Carson Smith or Joe Mondragon, and Larry Bunker (1953): “I Can't Believe That You're in Love with Me,” “Broadway,” “All the Things You Are,” “Almost Like Being in Love,” and “Lover Man” (a transcription of the Konitz solo on this tune is available in John Mehegan, Jazz Improvisation, vol. 2); Mulligan Tentette with Baker, Pete Candoli, Bob Enevoldsen, John Graas, Ray Siegel, Bud Shank, Don Davidson, Mondragon, Hamilton, and Bunker (1953): “Walkin' Shoes,” “Rocker,” “Flash,” and others; Mulligan considers this session to represent some of his best work. * The Complete Pacific Jazz Recordings of the Gerry Mulligan Quartet with Chet Baker. Pacific Jazz: 38263, 4CD set, 1952-57, c1996. The Original Quartet with Chet Baker. Pacific Jazz: 94407, 2CD set, 1952-53, c1998. The Best of the Gerry Mulligan Quartet with Chet Baker. Pacific Jazz: 95481, 1952-53, c1991. Includes “Walkin' Shoes,” “Soft Shoe,” and “Freeway.” + At Storyville. Pacific Jazz: 94472 (1228), 1956, c1990. With Bob Brookmeyer. What Is There To Say? Columbia/Legacy: 52978 (CS 8116), 1959, c1994. Sbme. With Art Farmer, Bill Crow, and Dave Bailey: “What Is There to Say?,” “Just in Time,” “As Catch Can,” and others; Mulligan feels this recording to be some of his best work. * The Complete Verve Gerry Mulligan Concert Band Sessions. Mosaic: MD4-221 (Verve), 4CD set, 1960-62, c2003. Includes both of the following two albums: The Concert Jazz Band. Poll Winners: 27264 (Verve MGV-8388), 1960, c2011. Big band featuring Mulligan and Bob Brookmeyer: “Sweet and Slow,” “Out of This World,” Duke Ellington's “I'm Gonna Go Fishin,” and Mulligan's “Bweebida, Bobbida,” and others. Gerry Mulligan and The Concert Jazz Band at the Village Vanguard. Verve: 314 589 488-2 (V6-8396), 1960, c1989. The above band in concert featuring Clark Terry and Bob Brookmeyer: “Black Nightgown,” “Body and Soul,” “Come Rain or Come Shine,” and others. see MILES DAVIS - The Birth of the Cool see PAUL DESMOND - Two of a Mind see DUKE ELLINGTON - Newport 1958 see LEE KONITZ - Lee Konitz Meets Gerry Mulligan see ANTHOLOGIES - Big Band Renaissance, The Birth of the Cool. Vol. 2, and Ken Burns JAZZ

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OLIVER NELSON, 1932-1975 (Saxophone) Soul Battle. Prestige: OJC-325 (7223), 1960, c1992. With King Curtis. Blues and the Abstract Truth. Impulse!: 154 (A-5), 1961, c1995. With Freddie Hubbard, Eric Dolphy, Bill Evans, and Roy Haynes. DAVID “FATHEAD” NEWMAN, 1933-2009 (Saxophone) * House of David: The David “Fathead” Newman Anthology. Rhino: 71452 (Atlantic +), 2CD set, 1952-89, c1993. Fathead: Ray Charles Presents David Newman. Collectables: 6541 (Atlantic 1304), 1958, c2005. CLAUS OGERMANN, 1930- (Composer/Arranger) Cityscape. Warner Bros.: 23698, 1982, c1995. With Michael Brecker. KING OLIVER, 1885-1938 (Cornet) King Oliver, Off the Record: The Complete 1923 Band Recordings. Archeophone: OTR-MM6-C2 (Gennett/OKeh/Paramount), 2CD set, 1923, c2007. King Oliver’s Creole Jazzband: The Complete Set. Retrieval/Challenge: RTR 79007 (Gennett/OKeh/Paramount), 2CD set, 1923-24, c1996. (import) * King Oliver's Jazz Band. Smithsonian: 2001 (OKeh), 2LP set, 1923, c1975. With Louis Armstrong, Johnny Dodds, Honore Dutrey, Lil Hardin, etc.: “Snake Rag,” “Sweet Lovin' Man,” “High Society Rag,” “Dippermouth Blues,” “West End Blues,” etc. Louis Armstrong and King Oliver. Milestone: 47017 (Gennett/Paramount), 1923-1924, c1992. “Dippermouth Blues” and “I’m Going Away to Wear You Off My Mind” (1923) with Oliver, Armstrong, Johnny Dodds, Honore Dutrey, and Baby Dodds; “Cakewalking Babies from Home” (1924) with Armstrong, Sidney Bechet, Lil Hardin, and Charlie Irvis. see ANTHOLOGIES - Ken Burns JAZZ and Smithsonian Collection of Classic Jazz

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ORIGINAL DIXIELAND JAZZ BAND + The 75th Anniversary. RCA Bluebird: 61098 (Victor), 1917-1921, c1992. Usually considered the first recordings of jazz; sessions feature Nick LaRocca, Larry Shields, Eddie Edwards, Henry Ragas, and Tony Sbarbaro: “Dixie Jazz Band One-Step,” “Livery Stable Blues” (1917); “Tiger Rag,” “Clarinet Marmalade” (1918); “Margie” (1920), “Home Again Blues (1921), and others. see ANTHOLOGIES - An Experiment in Modern Music, Ken Burns JAZZ, and Ragtime EDDIE PALMIERI, 1936- (Piano/Bandleader) + La Perfecta. Fania: 773 130 255-2 (Alegre), 1966, c2007. The Sun of Latin Music. Music Productions: 6253 (Coco 109), 1973, c1990. Unfinished masterpiece. Music Productions: 6259 (Coco 120), 1975, c1991. Palmas. Elektra Nonesuch: 61649, 1993, c1994. + Vortex. TropiJazz/RMM: 82043, c1996. CHARLIE PARKER, 1920-1955 (Alto Sax) + Charlie Parker: A Studio Chronicle. JSP: 915 (Decca/Dial/Savoy), 5CD set, 1940-48, c2003. * Young Bird. Vols. 1 & 2. Masters of Jazz: 78, 1940-44. * The Complete Birth of the Bebop. Stash: ST-CD-535, 1940-46, c1991. Includes Parker's first known recording: “Honey & Body” (1940) and a 1942 session with Parker on alto plus a guitar; also a 1943 jam session with Dizzy Gillespie, Oscar Pettiford, and Parker on tenor sax, made in the hotel room of Billy Eckstine's valet, Robert Redcross: “Sweet Georgia Brown,” “Three Guesses,” “Boogie Woogie.” These performances are among the most valuable on record for documenting formative Parker, and, because they are on tenor, clarifying his Lester Young and Coleman Hawkins roots. * Early Bird. Stash: ST-CD-542 (Onyx 221/Spotlite 120), 1940-44, c1991. 1940 Wichita transcriptions with Bernard Anderson, Orville Minor, Bud Gould, Jay McShann, Gene Ramey, and Gus Johnson: “I Found a New Baby,” “Body and Soul,” “Moten Swing,” “Coquette,” “Lady Be Good,” “Wichita Blues,” and “Honeysuckle Rose”; “Cherokee” (1942) by Parker with an unidentified rhythm section; 1942 broadcast from the Savoy Ballroom with Jay McShann. Ken Burns JAZZ Collection: Charlie Parker. Verve: 549 084-2 (Decca/Guild/Savoy/Dial/Verve), 1941-54, c2000.

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* Yardbird Suite: The Ultimate Charlie Parker Collection. Rhino: 72260 (Savoy/Dial/Mercury/Clef), 2CD set, 1945-54, c1997. Dial, Savoy, Verve, and live recordings including “Groovin’ High,” “Salt Peanuts,” “Shaw Nuff,” “Hot House,” “Now’s the Time,” “Ko Ko,” “Moose the Mooche,” “Yardbird Suite,” “Ornithology,” “Cool Blues,” “Relaxin’ at Camarillo,” “Donna Lee,” “Dewey Square,” “Embraceable You,” “Klactoveesedstene,” “Parker’s Mood,” “Bloomdido,” “Star Eyes,” “Confirmation,” and others. The Complete Savoy and Dial Studio Sessions 1944-1948. Savoy Jazz: 92911, 8CD set, 1944-48, c2000. Savoy: with Tiny Grimes, Clyde Hart, etc. (1944): “Tiny's Tempo” and “Red Cross”; with Miles Davis, Dizzy Gillespie, Argonne Thornton, Curly Russell, and Max Roach (1945): “Billie's Bounce,” “Now's the Time,” and “Ko Ko”; with Davis, Bud Powell, Tommy Potter, and Roach (1947): “Donna Lee” and “Cheryl”; with Davis, John Lewis, Nelson Boyd, and Roach (1947): “Half Nelson” and “Sippin' at Bells”; with Davis, Duke Jordan, Potter, and Roach (1947): “Blue Bird” and “Bird Gets the Worm”; with Davis, Lewis, Russell, and Roach (1948): “Barbados,” “Parker's Mood,” and others. Dial: with Dizzy Gillespie, Lucky Thompson, etc. (1946): “Diggin' Diz”; with Miles Davis, Lucky Thompson, Dodo Marmarosa, etc. (1946): “Moose The Mooch,” “Yardbird Suite,” “Ornithology,” and “Night in Tunisia”; with Howard McGhee, etc. (1946): “Lover Man”; with Erroll Garner, etc. (1947): “This Is Always”, “Cool Blues”, and “Bird's Nest”; with McGhee, Wardell Gray, Marmarosa, etc. (1947): “Relaxin' at Camarillo” and “Cheers”; with Davis, Duke Jordan, Tommy Potter, and Max Roach (1947): “Dexterity,” “Bird of Paradise,” “Embraceable You,” “Dewey Square,” “Klactoveesedstene,” “Crazeology,” and others. Also includes 1945 Guild recordings with Dizzy Gillespie: “Groovin’ High,” “All the Things You Are,” “Salt Peanuts,” “Shaw ‘Nuff,” and “Hot House.” The Complete Savoy & Dial Master Takes. Savoy Jazz: 17149, 3CD set, 1944-48, c2002. Best of the Complete Savoy & Dial Studio Recordings. Savoy Jazz: 17120, 1944-48, c2002. Includes “Tiny’s Tempo,” “Koko,” “Moose the Mooche,” “Yardbird Suite,” “Ornithology,” “Night in Tunisia,” “Cool Blues,” “Relaxin’ at Camarillo,” “Cheryl,” “Embraceable You,” “Crazeology,” “Blue Bird,” “Parker’s Mood,” and others. Charlie Parker & Dizzy Gillespie: Diz ‘n Bird at Carnegie Hall. Blue Note: 57061, 1947, c1997. The Complete Live Performances on Savoy. Savoy Jazz: 17021/24, 4CD set, 1947-50, c1998. The above two include a 1947 live version of “Groovin’ High”. Bird/The Complete Charlie Parker On Verve. Verve: 837 141-2 (Mercury/Clef), 10CD set, 1946-54, c1988. The Complete Verve Master Takes. Verve: 440 065 597-2, 3CD set, 1947-53, c2003.

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Confirmation: Best of the Verve Years. Verve: 314 527 815-2, 2CD set, 1946-53, c1995. Includes “April in Paris” and “Just Friends” with strings; “Star Eyes” with Hank Jones; and “Bloomdido” with Gillespie, Monk, and Buddy Rich. + Charlie Parker: Jazz at the Philharmonic 1949. Verve: 314 519 803-2, 1949, c1993. Includes Ella Fitzgerald performances of “How High the Moon,” “Perdido,” and “Flying Home.” + Swedish Schnapps. Verve: 849 393-2 (MGV 8010), 1949-51, c1991. Charlie Parker with Strings: The Master Takes. Verve: 314 523 984-2, 1949-52, c1995. Includes “April in Paris,” “Just Friends,” “Summertime,” and others. Bird and Diz. Verve: 314 521 436-2 (MGV 8006), 1950, c1997. With Dizzy Gillespie, Thelonious Monk, and Buddy Rich; includes “Bloomdido” and “Relaxin' with Lee.” * Now's the Time. Verve: 825 671-2 (MGV 8005), 1952-53, c1985. With Al Haig and Max Roach; includes “Now’s the Time” and “Confirmation.” Jazz at Massey Hall. Fantasy: OJC-044 (Debut 124), 1953, c1989. Concert with Dizzy Gillespie, Bud Powell, Charles Mingus, and Max Roach. see DIZZY GILLESPIE - Groovin’ High and Town Hall 1945 see ANTHOLOGIES - Bebop, Ken Burns JAZZ, and Smithsonian Collection of Classic Jazz MACEO PARKER, 1943- (Saxophone) + Roots Revisited. Verve: 843 751-2, c1990. WILLIAM PARKER, 1952- (Bass) In Order to Survive. Black Saint: 120 159-2, 1993, c1995. BUD POWELL, 1924-1966 (Piano) * The Complete Blue Note and Roost Recordings. Blue Note: 30083, 4CD set, 1947-63, c1994. * The Bud Powell Trio Plays. Roulette: 93902 (Roost 2224), 1947, c1990. “Nice Work If You Can Get It” and “Somebody Loves Me” with Curly Russell and Max Roach.

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The Amazing Bud Powell. Vols. 1 & 2. Blue Note: 32136/32137 (1503/1504), 2CDs, 1949-53, c2001. With Max Roach, Sonny Rollins, Fats Navarro, Tommy Potter, and Roy Haynes: “Un Poco Loco,” “Bouncing with Bud,” “Night in Tunisia,” “Dance of the Infidels,” “Parisian Thoroughfare,” and “Polka Dots and Moonbeams.” + The Complete Bud Powell on Verve. Verve: 314 521 669-2, 5CD set, 1949-56, c1994. + Jazz Giant. Verve: 314 543 832-2 (MGV 8153), 1949-50, c2001. With Ray Brown, Curly Russell, Max Roach: “Get Happy,” “Tempus Fugit,”and “Celia.” + The Genius of Bud Powell. Verve: 827 901-2 (V 8115), 1950-51, c1988. “Hallucinations,” “Tea for Two,” and others. see DEXTER GORDON - Settin’ the Pace see CHARLIE PARKER - Savoy recordings and Jazz at Massey Hall see ANTHOLOGIES - Bebop, The Bebop Revolution, Jazz Piano, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz TITO PUENTE, 1923-2000 (Timbales/Vibraphone/Bandleader) The Essential Tito Puente. RCA/Legacy: 69243, 2CD set, 1949-62, c2005. Mambo Diablo. Concord Picante: 4283, 1985, c1985. Royal T. Concord Picante: 4553, 1993, c1993. Special Delivery. Concord Picante: 4732, 1996, c1996. SONNY ROLLINS, 1929- (Tenor Sax) Ken Burns JAZZ Collection: Sonny Rollins. Verve: 549 091-2, 1954-66, c2000. Sonny Rollins: The Complete Prestige Recordings. Prestige: 4407, 7CD set, 1949-56, c1992. Sonny Rollins Plus 4. Prestige: 30159 (P-7038), 1956, c2007. With Clifford Brown, Richie Powell, George Morrow, and Max Roach: “Pent-Up House,” “Kiss and Run,” and “Valse Hot”; Rollins has said that this is some of his best playing on record. Saxophone Colossus. Prestige/Concord: 8105 (P-7079), 1956, c2006. With Tommy Flanagan and Max Roach: “Blue Seven,” “St. Thomas,” “You Don’t Know What Love Is,” and others. Way Out West. Contemporary: 31993 (C-7530), 1957, c2010. With Ray Brown and Shelly Manne.

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A Night at the Village Vanguard. Vols. 1 & 2. Blue Note: 99795 (1581), 2CD set, 1957, c1999. With Wilbur Ware and Elvin Jones: “A Night in Tunisia,” “I'll Remember April,” and others; the set includes all the material on Blue Note 1581 and More from the Vanguard (Blue Note 475). + The Complete RCA Victor Recordings. Victor Jazz: 68675, 6CD set, 1962-65, c1997. Includes The Bridge and Our Man in Jazz. + The Bridge. RCA: 52472, (LSP-2527), 1962, c2003. With Jim Hall. (import available) + Our Man in Jazz. RCA Victor: 74321851602 (LSP-2612), 1962, c2003. Our Man in Jazz. RCA/Japan: BVCJ-37211 (LSP-2612), 1962, c2005. (import) Live with Don Cherry, Henry Grimes, and Ed Blackwell. see CLIFFORD BROWN - At Basin Street see MILES DAVIS - Dig, Collector's Items, and Bag's Groove see DIZZY GILLESPIE - Duets and Sonny Side Up see BUD POWELL - Amazing Bud Powell see ANTHOLOGIES - Ken Burns JAZZ, Nica's Dream, and The Smithsonian Collection of Classic Jazz ROYAL CROWN REVUE (Swing revival group) Mugsy’s Move. Warner Bros.: 46125, c1996. DAVID SANBORN, 1945- (Alto Sax) Straight to the Heart. Warner Bros.: 25150, c1984. Upfront. Elektra: 61272, 1991, c1992. see BOB JAMES - Double Vision ARTURO SANDOVAL, 1949- (Trumpet) Tumbaito. Messidor: 15974, 1986, c1992. Jam Miami: A Celebration of Latin Jazz. Concord Picante: 4899, 2000, c2000. With Chick Corea, Claudio Roditi, Poncho Sanchez, and others. see IRAKERE - Best of… SCHNEIDER, MARIA, 1960- (Bandleader) Evanescence. ArtistShare: 0006 (ENJA 8048), 1992, c2005. Coming About. ArtistShare: 0087 (ENJA 9069), 1995, c2008. Allégresse. ArtistShare: 0005 (ENJA 9393), 2000, c2005.

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Days of Wine and Roses: Live at the Jazz Standard. ArtistShare: 0017, 2000, c2005. Concert in the Garden. ArtistShare: 0001, 2001-04, c2004. BRIAN SETZER, 1959- (Swing revival guitarist-bandleader) The Dirty Boogie. Interscope: 90183, c1998. WAYNE SHORTER, 1933- (Soprano Sax/Tenor Sax) Night Dreamer. Blue Note: 64467 (84173), 1964, c2005. With Lee Morgan, McCoy Tyner, Reggie Workman, and Elvin Jones; all tunes composed by Shorter: “Night Dreamer,” “Oriental Folk Song,” “Virgo,” “Black Nile,” “Charcoal Blues,” “Armageddon,” and “House of Jade.” Speak No Evil. Blue Note: 99001 (84194), 1964, c1999. With Freddie Hubbard, Herbie Hancock, Ron Carter, and Elvin Jones; all tunes composed by Shorter: “Witch Hunt,” “Fee Fi Fo Fum,” “Dance Cadaverous,” “Speak No Evil,” “Infant Eyes,” and “Wild Flower.” Super Nova. Blue Note: 84332, 1969, c1988. With John McLaughlin, Chick Corea, Jack DeJohnette, and others. Native Dancer. Columbia/Legacy: 46159, 1975, c1990. With Milton Nascimento.

Sbme Special Mkts.

Beyond the Sound Barrier. Verve: B0004518-02, 2002-04, c2005. With Danilo Perez, John Patitucci, and Brian Blade. see ART BLAKEY - Mosaic, Three Blind Mice, Caravan, Ugetsu, and Indestructible see MILES DAVIS - Miles in Berlin, Miles Davis Quintet 1965-1968: The Complete Columbia Studio Recordings, E.S.P., Plugged Nickel, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, Filles de Kilimanjaro, In a Silent Way, and Bitches Brew see WEATHER REPORT see JOE ZAWINUL - Zawinul HORACE SILVER, 1928- (Piano) Horace Silver and The Jazz Messengers. Blue Note: 64478 (81518), 1954, c2005. With Kenny Dorham, Hank Mobley, and Art Blakey: “Doodlin',” “The Preacher,” “Stop Time,” and others. Six Pieces of Silver. Blue Note: 25648 (81539), 1956, c2000. Includes “Senor Blues.” Further Explorations. Blue Note: 14379 (1589), 1958, c2008. With Art Farmer, Clifford Jordan, and Louis Hayes; includes “Moon Rays.”

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Finger Poppin'. Blue Note: 42304 (84008), 1959, c2003. With Blue Mitchell, Junior Cook, Gene Taylor, and Louis Hayes: “Finger Poppin',” “Cookin' at the Continental,” “Mellow D,” and others. Blowin' the Blues Away. Blue Note: 95342 (84017), 1959, c1999. With Mitchell and Cook: “Sister Sadie,” “Peace,” and others. Horace-Scope. Blue Note: 37775 (84042), 1960, c2006. With Blue Mitchell and Junior Cook. Song for My Father. Blue Note: 99002 (84185), 1964, c1999. With Carmell Jones, Joe Henderson: “Song for My Father,” “The Kicker,” etc. Cape Verdean Blues. Blue Note: 90839 (84220), 1965, c2004. With Joe Henderson, Woody Shaw and J. J. Johnson. + In Pursuit of the 27th Man. Blue Note: 35758 (BN-LA054-F), 1972, c2002. With Randy Brecker, Michael Brecker, David Friedman, Bob Cranshaw, and Mickey Roker: “Liberated Brothers,” “Kathy,” “Gregory Is Here,” “Summer in Central Park,” “Nothin' Can Stop Me Now,” “In Pursuit of the 27th Man,” and “Strange Vibes”; included because it contains the best recorded solos of the Brecker Brothers; it also displays delightful Silver writing, and, on some tunes, an unusual format for Silver: vibraphone, piano, bass and drums. see ART BLAKEY - A Night at Birdland and Jazz Messenger see MILES DAVIS - Walkin' and Bag's Groove see ANTHOLOGIES - Bebop, Jazz Piano, Ken Burns JAZZ, Nica's Dream, and Smithsonian Collection of Classic Jazz (revised) BESSIE SMITH, 1894-1937 (Blues Singer) Bessie Smith: Queen of the Blues, Vol. 1. JSP: 929 (Columbia), 4CD set, 1923-26, c2006. Bessie Smith: Empress of the Blues, Vol. 2. JSP: 930 (Columbia), 4CD set, 1926-33, c2007. The Essential Bessie Smith. Columbia/Legacy: C2K 64922, 2CD set. 1923-33, c1997. Bessie Smith: The Complete Recordings. Vol. 3. Frog: DGF42 (Columbia), 1924-25, c2001. (import) + The Complete Recordings. Vol. 2. Columbia/Legacy: C2K 47471, 2CD set, 1924-25, c1991. Includes selections with accompaniment by Louis Armstrong: “Sobbin’ Hearted Blues” and “St. Louis Blues” (1925). Bessie Smith: The Complete Recordings. Vol. 5. Frog: DGF44 (Columbia), 1926-27, c2001. (import) + The Complete Recordings. Vol. 3. Columbia/Legacy: C2K 47474, 2CD set, 1925-28, c1992. Includes “Lost Your Head Blues” (1926) with Joe Smith. Note: The releases on Frog have superior sound quality.

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CHRIS SPEED, 1967- (Tenor Sax, Clarinet) Deviantics. Songlines: 1524, 1998, c1999. ART TATUM, 1909-1956 (Piano) Piano Starts Here. Columbia/Legacy: 64690 (CL2565), 1933, 1949, c1995. Sbme. Includes “Tea for Two,” “Humoresque,” “Tiger Rag,” “St. Louis Blues,” “Willow Weep for Me,” “The Man I Love,” “Yesterdays,” and others. + Classic Early Solos. Decca Jazz/GRP: 607, 1934-37, c1991. (import available) + I Got Rhythm. Vol. 3. Decca Jazz/GRP: 630 (Brunswick), 1935-44, c1993. With Tiny Grimes and Slam Stewart; includes amazing 1944 versions of “I Got Rhythm” and “Tea for Two,” plus “Deep Purple,” “Cocktails for Two,” and others. * Pieces of Eight. Smithsonian: 2029, LP, 1939-55, c1981. * Art Tatum: Solos (1940). Decca Jazz/MCA: 42327, 1940, c1990. The Complete Capitol Recordings of Art Tatum. Capitol Jazz: 21325, 2CD set, 1949-52, c1997. Vol. 1 includes “Willow Weep for Me” and “Aunt Hagar's Blues.” Art Tatum: 20th Century Piano Genius. Verve: 314 531 763-2, 2CD set, 1950, 1955, c1996. Include “Too Marvelous for Words.” Tatum Group Masterpieces. Vol. 8. Pablo: 2405-431 (Verve MGV 8220), 1956, c1990. Ballads by Ben Webster, Tatum, Red Callender, and Bill Douglass: “All the Things You Are,” “Where or When,” “My One and Only Love,” and others. see ANTHOLOGIES - Jazz Piano, Ken Burns JAZZ, and The Smithsonian Collection Of Classic Jazz CECIL TAYLOR, 1933- (Piano) Jazz Advance. Blue Note: 84462 (Transition), 1955, c1991. With Steve Lacy, Buell Neidlinger, and Dennis Charles: “Bemsha Swing,” “Charge 'Em Blues,” “Azure,” “Song,” “You'd Be So Nice to Come Home To,” “Rick Kick Shaw,” and “Sweet and Lovely.” + Gigi Gryce-Donald Byrd Jazz Laboratory/Cecil Taylor Quartet: At Newport. Verve: 314 589 764-2 (MGV 8238), 1957, c2003. Taylor quartet with Steve Lacy, Buell Neidlinger, and Dennis Charles: “Johnny Come Lately,” “Nona’s Blues,” and “Tune.”

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+ Love for Sale. Blue Note: 94107 (UA 4046), 1959, c1998. Session with Ted Curson, Bill Barron, Chris White, and Rudy Collins: “Get Out of Town,” “Carol/Three Points,” “Love for Sale,” “Little Lees,” and “I Love Paris.” Looking Ahead! Fantasy: OJC-452 (Contemporary 7562), 1958, c1990. Quartet session with vibes. * The Complete Cecil Taylor/Buell Neidlinger Candid Sessions. Mosaic: MD4-127, 4CD set, 1960-61, c1989. The World of Cecil Taylor. Candid: 79006 (8006), 1960, c1992. With Archie Shepp, Buell Neidlinger, and Dennis Charles: “Air,” “This Nearly Was Mine,” “Port of Call,” “Eb,” and “Lazy Afternoon.” * Nefertiti, the Beautiful One Has Come. Revenant: 202 (Debut), 2CD set, 1962, c1997. With Jimmy Lyons and Sunny Murray; includes “Trance.” Unit Structures. Blue Note: 84237, 1966, c1987. With Eddie Gale Stevens, Jr., Jimmy Lyons, Ken McIntyre, Henry Grimes, Alan Silva, and Andrew Cyrille. Conquistador. Blue Note: 90840 (84260), 1966, c2004. With Bill Dixon, Jimmy Lyons, and Andrew Cyrille; includes “Enter Evening.” + Silent Tongues. 1201 Music: 9017 (Arista/Freedom 1005), 1974, c2000. Unaccompanied piano improvisations recorded live at the Montreux Jazz Festival: “Abyss,” “Petals and Filaments,” and “Jitney #2.” * Fly, Fly, Fly. Pausa: 7108 (MPS), LP, 1980, c1981. Solo piano. see ANTHOLOGIES - Ken Burns JAZZ , Smithsonian Collection of Classic Jazz CLAUDE THORNHILL, 1909-1965 (Piano/Big Band) Claude Thornhill and His Orchestra Play the Great Jazz Arrangements of Gil Evans, Gerry Mulligan, and Ralph Aldrich. Fresh Sounds: 365 (Columbia), 1942-53, c2004. * The Memorable Claude Thornhill. Columbia: 32906, 2LP set, 1941-47, c1975. Featuring Lee Konitz: “Snowfall,” “Hungarian Dance #5,” “Traumerai,” “Portrait of a Guinea Farm,” “Where or When,” “Night and Day,” “Grieg's Piano Concerto,” “I Don't Know Why,” “Moonlight Bay,” “Buster's Last Stand,” “Moments Like This,” “A Sunday Kind of Love,” “Warsaw Concerto,” “Robbin's Nest,” “Lover Man,” “For Heaven's Sake”; and the following Gil Evans arrangements: “There's a Small Hotel,” “Anthropology,” “Yardbird Suite,” and “Donna Lee.” * Best of the Big Bands: Claude Thornhill. Columbia: 46152, 1941-47, c1990. see ANTHOLOGIES - The Bebop Era, Big Band Jazz, and Jazz in Revolution

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LENNIE TRISTANO, 1919-1978 (Piano) Intuition. Capitol Jazz: 52771 (11060), 1949, 1956, c1996. With Tristano, Lee Konitz, Warne Marsh, Billy Bauer, and others (1949): “Wow,” “Crosscurrent,” “Yesterdays,” “Marionette,” “Sax of a Kind,” “Intuition,” and “Digression”; balance of CD is a 1956 Warne Marsh session. Abstraction & Improvisation. Five/Four: 18, 1946-55, Includes “Descent into the Maelstrom” (1953).

c2007. (import)

* The Complete Atlantic Recordings of Lennie Tristano, Lee Konitz & Warne Marsh. Mosaic: MD6-174, 6CD set, 1955-61, c1997. + Lennie Tristano/The New Tristano. Rhino: 71595 (Atlantic 1224/1357), 1955, 1961, c1994. Includes “Line Up” and “Turkish Mambo.” see LEE KONITZ - Subconscious Lee see ANTHOLOGIES - The Bebop Era, Jazz Piano, Mirage, and The Smithsonian Collection of Classic Jazz MCCOY TYNER, 1938- (Piano) see JOHN COLTRANE - most Atlantic and Impulse! recordings see WAYNE SHORTER - Night Dreamer see ANTHOLOGIES - Jazz Piano US3 (Acid Jazz Group) Hand on the Torch. Blue Note: 80883, c1993. SARAH VAUGHAN, 1924-1990 (Singer) Ken Burns JAZZ Collection: Sarah Vaughan. Verve: 549 088-2, 1944-74, c2000. Young Sassy. Proper: PROPER BOX 27 (Continental/Musicraft/Columbia/MGM), 4CD set, 1944-50, c2001. (import) + Tenderly. Musicraft: 70057, 1946-48, c1988. Includes “You’re Not the Kind” with Freddie Webster on trumpet. Sarah Vaughan [with Clifford Brown]. Emarcy: 543 305-2 (MG 36004), 1954, c2000. Includes “You’re Not the Kind.” + Sarah Vaughan with Michel Legrand. Mainstream: 703 (361), 1972, c1990. Includes “What Are You Doing the Rest of Your Life” and “The Summer Knows.” * Live in Japan. Mainstream/Legacy: J2K 57123 (2401), 2CD set, 1973, c1991. Includes “My Funny Valentine.”

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JUNIOR WALKER, 1931-1995 (Tenor Sax) Shotgun. Motown: 314 530 245 (Soul 701), 1965, c2001. The Ultimate Collection. Motown: 314 530 828 (Soul), 1962-96, c1997. FATS WALLER, 1904-1943 (Piano) * The Fats Waller Piano Solos: Turn on the Heat. RCA Bluebird: 2482 (Victor), 2CD set, 1927-41, c1991. “Numb Fumblin’,” “Valentine Stomp,” and “Ain’t Misbehavin” (1929), “I Ain’t Got Nobody” (1937), and “Honesuckle Rose” (1941). see ANTHOLOGIES - Jazz Piano and Smithsonian Collection of Classic Jazz GROVER WASHINGTON, JR., 1943-2000 (Saxophone) Mister Magic. Motown: 530 103 (Kudu 20), 1974, c1995. Winelight. Elektra: 305, 1980, c1980. WEATHER REPORT (Fusion Group) Forecast: Tomorrow. Columbia/Legacy: 85570, 3CD set + 1 DVD, 1969-85, c2006. Includes tracks by Miles Davis, Wayne Shorter, and Cannonball Adderley. Weather Report. Columbia: 48824 (30661), 1971, c1992. Sbme Special Mkts. Includes “Seventh Arrow,” “Umbrellas,” “Waterfall,” and “Eurydice.” I Sing the Body Electric. Columbia: 46107 (31352), 1971-72, c1990. Includes edited live performance by Joe Zawinul, Wayne Shorter, Miroslav Vitous, Eric Gravatt, and Dom Um Romao: “Vertical Invader,” “T.H.,” “Dr. Honoris Causa,” “Surucucu,” and “Directions”; also includes studio date with added singers, English horn (Andrew White), flute, trumpet, and 12-string guitar: “Unknown Soldier,” “The Moors,” “Crystal,” and “Second Sunday in August.” Live in Tokyo. CBS: 489208 2, 2CD set, 1972, c1997.

(import)

Sweetnighter. Columbia/Legacy: 64976 (32210), 1973, c1996. Sbme Special Mkts. th Includes “Boogie Woogie Waltz,” “125 St. Congress,” “Manolete,” and “Non-Stop Home.” Mysterious Traveller. Columbia/Legacy: 65112 (32494), 1974, c2002. Includes “Jungle Book” and “Blackthorn Rose.” Tale Spinnin'. Columbia/Legacy: 65110 (33417), 1975, c2002. Includes “Badia,” “Man in the Green Shirt,” and “Five Short Stories.” Black Market. Columbia/Legacy: 65169 (34099), 1976, c2002. Includes “Three Clowns” and “Barbary Coast.”

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Heavy Weather. Columbia/Legacy: 65108 (34418), 1977, c1997. Includes “Birdland,” “Teen Town,” “The Juggler,” “Palladium,” “Harlequin,” and “Havona.” Mr. Gone. Columbia/Legacy: 46869 (35358), 1978, c1991. Includes “River People” and “Punk Jazz.”

Sbme Special Mkts.

8:30. Columbia/Legacy: 57665 (PC2 36030), 1979, c1994. Includes “The Orphan.”

Sbme Special Mkts.

Night Passage. Columbia: 36793, c1980. Sbme Special Mkts. Includes “Port of Entry,” “Dream Clock,” and “Three Views of a Secret.” Weather Report. Columbia: 37616, 1981, c1987. Sbme Special Mkts. Includes “Crazy About Jazz” and “Dara Factor One.” MARY LOU WILLIAMS, 1910-1981 (Piano/Arranger) * Mary Lou Williams 1927-1940. Classics: 630 (Brunswick/Decca/Varsity), 1927-40, c1992. * Mary Lou Williams 1944. Classics: 814 (Asch/V-Disc), 1944, c1995. * Mary Lou Williams 1944-1945. Classics: 1021 (Asch), 1944-45, c1998. Includes “The Zodiac Suite.” The Asch Recordings. Folkways: 2966 (Asch), 2CD set, 1944-47. + Nite Life. Chiaruscuro: 103, 2CD set, 1971, c1998. see ANDY KIRK TONY WILLIAMS, 1945-1997 (Drums) Emergency! Verve: 314 539 117-2 (Polydor 25-3001), 1969, c1997. + Spectrum: The Anthology. Verve: 537 075-2 (VE2-2541), 2CD set, 1969-73, c1997. With John McLaughlin and Larry Young. see MILES DAVIS - Seven Steps to Heaven, In Europe, My Funny Valentine, Four and More, Miles in Berlin, Miles Davis Quintet 1965-1968: The Complete Columbia Studio Recordings, E.S.P., Plugged Nickel, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, Filles de Kilimanjaro, and In a Silent Way see HERBIE HANCOCK - Empyrean Isles and Maiden Voyage

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LESTER YOUNG, 1909-1959 (Tenor Sax) + Ken Burns JAZZ Collection: Lester Young. Verve: 549 082-2 (Columbia/Decca/Keynote/Aladdin/Verve), 1936-57, c2000. + The “Kansas City” Sessions. Commodore/GRP: 402, 1938, 1944, c1997. Selections feature Young (on clarinet and tenor saxophone), Buck Clayton, Eddie Durham, Freddie Green, Walter Page, and Jo Jones: “Way Down Yonder in New Orleans,” “I Want a Little Girl,” “Countless Blues,” and “Pagin' the Devil” (1938); plus “Good Mornin’ Blues” without Young. + The Complete Aladdin Sessions. Blue Note: 32787, 2CD set, 1942-48, c1995. Includes “D.B. Blues” (1945). see COUNT BASIE - Complete Decca Recordings, Best of Early Basie, and America’s #1 Band see BILLIE HOLIDAY - Lady Day and A Musical Romance see ANTHOLOGIES - Classic Tenors, Ken Burns JAZZ, and The Smithsonian Collection of Classic Jazz JOE ZAWINUL, 1932-2007 (Keyboards) Zawinul. Mosaic Contemporary: 5006 (Atlantic 1579), 1970, c2007. (mail order) With Wayne Shorter, Earl Turbinton, Woody Shaw, George Davis, Hubert Laws, Herbie Hancock, Miroslav Vitous, Walter Booker, Jack DeJohnette, Joe Chambers, Billy Hart, and David Lee: “Doctor Honoris Causa,” “In a Silent Way,” “Double Image,” and “Arrival in New York”; this recording displays some of Zawinul's best composing and arranging. see CANNONBALL ADDERLEY - Cannonball in Europe and Mercy, Mercy, Mercy see MILES DAVIS - In a Silent Way and Bitches Brew see WEATHER REPORT See ANTHOLOGIES - Ken Burns JAZZ JOHN ZORN, 1953- (Alto Sax) Masada Live in Jerusalem 1994. Tzadik: 7322, 1994, c1999. Masada Live in Middelheim 1999. Tzadik: 7326, 1999, c1999. Both with Dave Douglas.

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ANTHOLOGIES (Alphabetically By Title) * African Journey: A Search for the Roots of the Blues. Sonet: SNTF 667 (Vanguard 73014/15), 1974. (import) Recorded by Samuel Charters in Gambia, Senegal, Mali, Ghana, and Togo. An Anthology of Big Band Swing. Decca Jazz/GRP: GRD2-629, 2CD set, 1930-55, c1993. Includes Duke Ellington, Fletcher Henderson, Jimmie Lunceford, Count Basie, Benny Carter, Jay McShann, Roy Eldridge, and others. * Bebop. New World: 271, LP, 1945-56, c1976. “Parker's Mood,” “Relaxin' at Camarillo,” “Ko-Ko,” and “Embraceable You” by Charlie Parker; “Things to Come” by Dizzy Gillespie's big band; “Un Poco Loco” by Bud Powell; “Jahbero” by Tadd Dameron with Fats Navarro; “Misterioso” by Thelonious Monk; “What is This Thing Called Love” by Clifford Brown and Max Roach; “Stop Time” by Horace Silver; “You’re Not the Kind” by Sarah Vaughan, and others. * The Bebop Era. Columbia: 40972, 1942-51, c1987. Gil Evans' arrangements for Claude Thornhill of “Yardbird Suite” and “Donna Lee” (1947); and “No Figs” by the Metronome All Stars with Stan Getz and Lennie Tristano (1950). * The Bebop Revolution. RCA Bluebird: 2177, 1946-49, c1990. Dizzy Gillespie combo (1946) and big band (1947-49); and Kenny Clarke and His 52nd Street Boys with Fats Navarro, Sonny Stitt, and Bud Powell (1946). Bernstein Century: Bernstein on Jazz [What Is Jazz?]. Sony: SMK 60566 (Columbia CL 919), 1956, c1998. This presentation remains the single most effective tool for explaining the principles and concepts underlying jazz, as well as for comparing different styles of jazz. With his typical clarity, humor, and eclecticism, Leonard Bernstein provides definitions and musical examples for mutes, vibraphone, cymbals, cow bell, maracas, bongo drums, jazz shading of tone, syncopation, blue notes, vibrato, improvisation, instrumental break, collective improvisation, 12-bar blues form, AA-B-A form, theme and variations, etc. He is assisted by an all-star set of jazz musicians including Louis Armstrong, Bessie Smith, Miles Davis, Buck Clayton, Buster Bailey, John Coltrane, Teo Macero, Turk Murphy, and Coleman Hawkins. He also compares jazz styles by offering different renditions of “Sweet Sue.” The Best of Ken Burns JAZZ. Sony/Legacy: 61439, 1926-92, c2000. Includes Jelly Roll Morton, Sidney Bechet, Louis Armstrong, Bix Beiderbecke, Duke Ellington, Fletcher Henderson, Benny Goodman, Artie Shaw, Count Basie, Billie Holiday, Dizzy Gillespie, Thelonious Monk, Sarah Vaughan, Dave Brubeck, Horace Silver, John Coltrane, and Miles Davis.

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* Big Band Jazz: From the Beginnings to the Fifties. Smithsonian: RJ0001 (2202), 4CD set, 1924-56, c1983. FLETCHER HENDERSON – “Copenhagen,” “Henderson Stomp,” “Hop Off,” “New King Porter Stomp,” and “Down South Camp Meetin'.” JIMMIE LUNCEFORD – “Mood Indigo,” “Stratosphere,” “Stomp It Off,” “Organ Grinder's Swing,” and “Uptown Blues.” BENNY GOODMAN – “Sometimes I'm Happy,” “King Porter Stomp,” “Sing, Sing, Sing,” “Ridin' High,” and “Mission to Moscow.” TOMMY DORSEY – “Song of India,” “Well Git It,” “On the Sunny Side of the Street,” and “Opus Number One.” COUNT BASIE – “One O'Clock Jump,” “Sent for You Yesterday,” “Jumpin' at the Woodside,” “Volcano,” “9:20 Special,” and “Shiny Stockings.” ARTIE SHAW – “Begin the Beguine,” “Rose Room,” and “Star Dust.” BENNY CARTER – “Shufflebug Shuffle.” DUKE ELLINGTON – “A Gypsy Without a Song,” “Take the 'A' Train,” “Just A-Settin' and A-Rockin',” “Perdido,” “C-Jam Blues,” “Main Stem,” and “Happy-Go-Lucky Local.” LIONEL HAMPTON – “Till Tom Special” and “Flying Home.” WOODY HERMAN – “Down Under,” “Apple Honey,” and “Four Brothers.” BILLY ECKSTINE – “Cool Breeze.” DIZZY GILLESPIE – “Our Delight” and “Things to Come.” CLAUDE THORNHILL – “Robbins Nest” and “Donna Lee.” * Big Band Renaissance: The Evolution of the Jazz Orchestra. Smithsonian: RJ0014 (RD108), 5CD set, 1941-89, c1995. Includes Jay McShann, Boyd Raeburn, Duke Ellington, Benny Goodman, Charlie Barnet, Artie Shaw, Count Basie, Woody Herman, Stan Kenton, Sauter-Finegan, Ted Heath, Harry James, Maynard Ferguson, Buddy Rich, Herb Pomeroy, Johnny Richards, Dizzy Gillespie, Terry Gibbs, Gerry Mulligan, Quincy Jones, Gerald Wilson, Thad Jones, Mel Lewis, Duke Pearson, Clare Fischer, John Dankworth, Kenny Clarke, Francy Boland, Don Ellis, Toshiko Akiyoshi, Rob McConnell, Gil Evans, George Russell, Benny Carter, Manny Albam, Henry Mancini, Oliver Nelson, Muhal Richard Abrams, Sun Ra, Charlie Haden, and others. * The Birth of the Cool. Vol. 2. Capitol: 98935, 1951-53, c1992. Gerry Mulligan Tentette (1953): “Walking Shoes,” “Rocker,” and “Flash”; Mulligan considers this session to represent some of his best work; Shorty Rogers and His Giants (1951); and the Metronome All Stars (1951) with Miles Davis, Lee Konitz, Stan Getz, and others. * The Birth of the Third Stream. Columbia/Legacy: 64929 (WL 127/CL 941), 1956-57, c1996. “Revelations” by Charles Mingus; “All about Rosie” by George Russell featuring Bill Evans; “Three Little Feelings” by John Lewis; and “Poem for Brass” by J. J. Johnson. * Black California. Savoy: SVY-0274 (2215), 1945-52, c1995. With Sonny Criss, Wardell Gray, Roy Porter, Harold Land, and Hampton Hawes. * The Blues: A Smithsonian Collection of Classic Blues Singers. Smithsonian: 2550 (RD 101), 4CD set, 1923-85, c1993.

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Breaking Out of New Orleans. JSP: 921, 4CD set, 1922-29, c2004. (import) Original Tuxedo Jass Band, Sam Morgan, Piron’s New Orleans Orchestra, Red Onion Jazz Babies, Ory’s Sunshine Orchestra, Fate Marable, Erskine Tate, Doc Cook, Freddie Keppard, Johnny Dodds, and others. * The Changing Face of Harlem. Savoy: 2208, 2LP set, 1944-45, c1976. Included for Earl Bostic solos which show possible origins of certain Coltrane devices. * The Chicagoans: The Austin High Gang. MCA: 1350 (Decca 9231), LP, 1928-30, c1982. Chicago-style combo recordings featuring Frank Teschemacher: “Prince of Wails” (1929) by Elmer Schoebel and His Friar's Society Orchestra, with Dick Feige, Jack Read, Floyd Towne, Elmer Schoebel, Charlie Berger, John Kuhn, and George Wettling. * Classic Tenors. Signature/CBS: 38446, 1943, c1989. Coleman Hawkins with Eddie Heywood, Oscar Pettiford, and Shelly Manne: “The Man I Love” and “Sweet Lorraine”; Lester Young with Bill Coleman and Dicky Wells: “I Got Rhythm,” and others. Come and Trip It: Instrumental Dance Music, 1780s-1920s. New World: 80293, 1978, c1994. (mail order) * Cuttin' the Boogie. New World: NW 259, LP, 1926-41, c1977. “Pinetop's Boogie Woogie” by Pinetop Smith and “Honky Tonk Train Blues” by Meade Lux Lewis. Early Band Ragtime: Ragtime’s Biggest Hits, 1899-1909. Smithsonian/Folkways: RBF 38, c1979. (mail order) * Early Black Swing: The Birth of Big Band Jazz. RCA Bluebird: 9583, 1927-34, c1989. Fletcher Henderson: “Sugar Foot Stomp”; Bennie Moten: “Moten Swing”; Jimmie Lunceford: “White Heat” and “Swingin' Uptown”; Duke Ellington, Louis Armstrong, Earl Hines, McKinney's Cotton Pickers, Charlie Johnson, and the Missourians. * An Experiment in Modern Music: Paul Whiteman at Aeolian Hall. Smithsonian: 2028, LP, 1919-24, c1981. Includes “Livery Stable Blues” by the Original Dixieland Jazz Band. + The Gospel Sound. Columbia/Legacy: C2K 57160, 2CD set, 1926-68, c1994. Includes “One Day” by the Angelic Gospel Singers and Dixie Hummingbirds.

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The Greatest Jazz Concert in the World. Pablo: 2625-704, 3CD set, 1967, c1992. Concert with the entire Ellington band (“Chromatic Love Affair” featuring Harry Carney; “Swamp Goo” featuring Russell Procope) plus the Oscar Peterson Trio (Sam Jones and Louis Hayes), singer Ella Fitzgerald, and others. Hitsville USA: The Motown Singles Collection. Motown: 374 636 312, 4CD set, 1959-1971, c1992. Marvin Gaye, Supremes (“Reflections,” “Love Child”), Four Tops, Temptations (“Cloud Nine”), Miracles, Gladys Knight & the Pips (“I Heard It Through the Grapevine”), and others. * Jammin' for the Jackpot. New World: NW 217, LP, 1929-41, c1977. Includes 1941 “Ebony Silhouette” featuring Milt Hinton on bass with Cab Calloway. Jazz. Vol. 1, The South. Smithsonian/Folkways: 2801, c1950. Jazz. Vol. 2, The Blues. Smithsonian/Folkways: 2802, 1923-48. Jazz: Some Beginnings. Smithsonian/Folkways: RF 31, 1914-1926, c1977. (mail order) * Jazz in Revolution. New World: NW 284, LP, 1940-49, c1977. Includes “Mingus Fingers” featuring Charles Mingus with the Lionel Hampton band; “Donna Lee” arranged by Gil Evans for the Claude Thornhill band; “The Chase” by Dexter Gordon and Wardell Gray; and “Royal Roost” by Fats Navarro and Kenny Clarke. * Jazz Piano: A Smithsonian Collection. Smithsonian: 7002, 4CD set, 1924-78, c1989. Jelly Roll Morton, James P. Johnson, Willie "The Lion" Smith, Fats Waller, Earl Hines, Teddy Wilson, Meade Lux Lewis, Count Basie, Billy Kyle, Art Tatum, Duke Ellington, Nat King Cole, Erroll Garner, Bud Powell, Lennie Tristano, Dodo Marmarosa, Al Haig, Oscar Peterson, Thelonious Monk, Horace Silver, Herbie Nichols, Hank Jones, Tommy Flanagan, John Lewis, Bill Evans, McCoy Tyner, Chick Corea, Keith Jarrett, and Herbie Hancock, and others. Jazz: The Smithsonian Anthology. Smithsonian Folkways: 40820, 6CD set, c2010. Includes Original Dixieland Jazz Band, King Oliver, Jelly Roll Morton, Bix Beiderbecke, Bessie Smith, Duke Ellington, Louis Armstrong, James P. Johnson, Sidney Bechet, Fats Waller, Billie Holiday, Count Basie, Mary Lou Williams, Coleman Hawkins, Benny Goodman, Art Tatum, Dizzy Gillespie, Dexter Gordon, Bud Powell, Charlie Parker, Thelonious Monk, Lennie Tristano, Miles Davis, Gerry Mulligan, Stan Kenton, Clifford Brown, Modern Jazz Quartet, Horace Silver, Sonny Rollins, Nat King Cole, Stan Getz, J.J. Johnson, Art Blakey, John Coltrane, Charles Mingus, Dave Brubeck, Ornette Coleman, Cannonball Adderley, Sarah Vaughan, Bill Evans, Ella Fitzgerald, Chick Corea, Mahavishnu Orchestra, Herbie Hancock, Cecil Taylor, Weather Report, Keith Jarrett, Irakere, Steve Coleman, Michael Brecker, Tito Puente, Wynton Marsalis, John Zorn, and others.

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* Jive at Five. New World: NW 274, LP, 1927-46, c1976. Includes “Every Tub” and “Jive at Five” by Count Basie; “Passion Flower” by Johnny Hodges; “Pitter Panther Patter” by Duke Ellington and Jimmy Blanton; and “Body and Soul” by Coleman Hawkins. Ken Burns JAZZ: the Story of America’s Music. Sony/Legacy: C5K 61432, 5CD set, 1917-92, c2000. Includes Jim Europe, ODJB, James P. Johnson, King Oliver, Bessie Smith, Jelly Roll Morton, Fletcher Henderson, Louis Armstrong, Duke Ellington, Bix Beiderbecke, Bennie Moten, Jimmie Lunceford, Benny Goodman, Count Basie, Billie Holiday, Art Tatum, Pete Johnson, Chick Webb, Django Reinhardt, Coleman Hawkins, Artie Shaw, Tommy Dorsey, Gene Krupa, Dizzy Gillespie, Charlie Parker, Bud Powell, Thelonious Monk, Miles Davis, Sarah Vaughan, Chet Baker, Gerry Mulligan, Horace Silver, Clifford Brown/Max Roach, Sonny Rollins, Modern Jazz Quartet, Dave Brubeck, John Coltrane, Cecil Taylor, Ornette Coleman, Charles Mingus, Stan Getz, Weather Report, Grover Washington, Herbie Hancock, Dexter Gordon, and others. + Legends of the Blues. Vol. 1. Columbia: 46215, 1925-1965, c1990. * Legends of the Blues. Vol. 2. Columbia: 47467, 1929-1940, c1991. Vol. 1: Bessie Smith, Robert Johnson, Leadbelly, Lonnie Johnson, and others. Vol. 2: Roosevelt Sykes, Tampa Red, Charlie Spand, and others. * Masters of Jazz. Vol. 1. Traditional Jazz Classics. Rhino: 72468, 1923-92, c1996. King Oliver, New Orleans Rhythm Kings, Clarence Williams, Bessie Smith, Jelly Roll Morton, Bix Beiderbecke, Louis Armstrong, Fats Waller, Fletcher Henderson, Benny Goodman, Duke Ellington, Red Nichols, Sidney Bechet, and others. * Masters of Jazz. Vol. 2. Bebop’s Greatest Hits. Rhino: 72469, 1945-54, c1996. Dizzy Gillespie, Charlie Parker, Kenny Clarke, Lester Young, Dexter Gordon, Wardell Gray, Claude Thornhill, Thelonious Monk, Miles Davis, Bud Powell, James Moody, George Shearing, Clifford Brown, Max Roach, and others. * Masters of Jazz. Vol. 3. Big Bands of the ‘30s & ‘40s. Rhino: 72470, 1931-47, c1996. Bennie Moten, Don Redman, Fletcher Henderson, Chick Webb, Jimmie Lunceford, Benny Goodman, Andy Kirk, Count Basie, Erskine Hawkins, Duke Ellington, Earl Hines, Jay McShann, Jimmy Dorsey, Lionel Hampton, Billy Eckstine, and Dizzy Gillespie. * Masters of Jazz. Vol. 4. Big Bands of the ‘50s & ‘60s. Rhino: 72471, 1949-66, c1996. Woody Herman, Lionel Hampton, Duke Ellington, Stan Kenton, Count Basie, Maynard Ferguson, Gerald Wilson, Buddy Rich, Oliver Nelson, and others.

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* Mirage: Avant-Garde and Third-Stream Jazz. New World: NW 216, LP, 1946-61, c1977. Includes “Mirage” (arranged by Pete Rugulo) and “Egdon Heath” (arranged by Bill Russo) performed by the Stan Kenton big band; “Eclipse” by Charles Mingus; “Yesterdays” by Lennie Tristano; and “Concerto for Billy the Kid” by George Russell. * Nica's Dream. New World: NW 242, LP, 1955-64, c1977. “Nica's Dream” by Art Blakey; “Blues March” by the Jazztet; “Original Faubus Fables” by Charles Mingus; Sonny Rollins; and the Modern Jazz Quartet. * The 1930's - The Small Combos. Columbia: 40833, 1930-39, c1987. “Shoe Shine” (1936) by Jones-Smith Inc. (Basie/Lester Young); “Wabash Stomp” (1937) by Roy Eldridge; “Echoes of Harlem” (1938) by Cootie Williams. * The Original Mambo Kings. Verve: 314 513 876-2 (Clef), 1948-54, c1993. With Machito, Mario Bauzá, Charlie Parker, Howard McGhee, and Dizzy Gillespie. * Piano in Style. MCA: 1332, LP, 1926-30, c1980. Includes Pinetop Smith (“Boogie Woogie”), James P. Johnson, and Jelly Roll Morton. * Ragtime: Pianos, Banjos, Saxophones, Cake-Walks, Brass Bands, Jass.... RCA (France): 64122, 2CD set, 1900-1930, c2004. (import) Includes the Sousa Band, Jim Europe's Society Orchestra, Earl Fuller, the Original Dixieland Jazz Band, and others. Riverside History of Classic Jazz. Riverside/Fantasy: 005, 3CD set, ca.1900-1954, c1994. Includes Jelly Roll Morton, “The Pearls” (1923), and “Steady Roll” (1924); New Orleans Rhythm Kings, “Livery Stable Blues” (1922); Louis Armstrong and Sidney Bechet, “Cake Walkin' Babies from Home” (1924); Scott Joplin “The Cascades”; street cries of Charleston (that illustrate Afro-American pitch bending by Southern Negro street vendor); also brass bands, vocal blues, ragtime, black religious music, and numerous selections by early New Orleans and Chicago musicians. * The Roots of the Blues. New World: 80252, 1959, c1981. Field recordings by Alan Lomax. * The Smithsonian Collection of Classic Jazz. revised edition. Smithsonian: RJ0010 (2502), 5CD set, 1916-1981, c1987. Note: Critic-journalist Martin Williams has drawn from the vaults of many record companies to compile an ambitious collection for the Smithsonian Institute. It is an excellent place to find one or more good examples of a particular musician's work without purchasing the albums from which the selections were taken. It would take months, even years, to obtain the selections contained in this collection separately. However, it should not be purchased with the intention of gaining a well-balanced view of jazz history because of the lengthy list of historically significant players and groups omitted: tenor saxophonist Albert Ayler, pianist-composer-bandleader Sun Ra, The Original Dixieland Jazz Band, Stan Kenton's big bands, Woody Herman's big bands, Stan Getz (Smithsonian

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Collection of Classic Jazz (revised) has 8 measures of Getz on a Red Norvo recording of “Body and Soul”), post-1963 John Coltrane, pianist-composer-bandleaders Herbie Hancock, Chick Corea, Keith Jarrett, combos led by composer-baritone saxophonist Gerry Mulligan, the combos of Art Blakey and Horace Silver (SCCJ-R (revised) has one selection by a Silver quintet of 1958), and combos led by Miles Davis during the 1960's and 1970's. There is nothing representing the past 30 years of jazz history, except one selection by the World Saxophone Quartet. Of course, it is not what the collection omits that is important, but what it includes. The following is a partial listing: LOUIS ARMSTRONG - eight selections including “West End Blues” (1928) with Earl Hines; a duet with Hines called “Weather Bird” (1928); “Hotter Than That” (1927) with Johnny Dodds, Kid Ory, Lil Hardin Armstrong, Lonnie Johnson, and Johnny St. Cyr. BIX BEIDERBECKE - “Singin' the Blues” (1927) with Frankie Trumbauer. DON BYAS - “I Got Rhythm” (1945): duet with Slam Stewart. ORNETTE COLEMAN - “Congeniality” and “Lonely Woman” with Don Cherry, and an excerpt from Free Jazz. MILES DAVIS - “Boplicity” (Birth of the Cool, 1949), and “So What”(Kind of Blue, 1959) with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb. DUKE ELLINGTON - eight big band selections including “Concerto for Cootie,” “Harlem Air Shaft,” and “Ko-Ko” (all 1940); SCCJ-R has “Cottontail” (1940) but not “Harlem Airshaft.” ROY ELDRIDGE - big band version of “Rockin' Chair” (1941). DIZZY GILLESPIE - “I Can't Get Started” (1945), and “Shaw 'Nuff” (1945) with Charlie Parker, Al Haig, Curly Russell, and Sid Catlett. BENNY GOODMAN - “Body and Soul” (1935) with Teddy Wilson, and “I Found a New Baby” and “Breakfast Feud” (1941) with Charlie Christian. COLEMAN HAWKINS - the famous “Body and Soul” (1939). FLETCHER HENDERSON - “Stampede” (1926) and “Wrappin' It Up” (1934). JAMES P. JOHNSON - “Carolina Shout” (1921). LEE KONITZ - “Crosscurrent” (1949) with Konitz, Warne Marsh, Billy Bauer, and Lennie Tristano; SCCJ-R substitutes “Subsconsious Lee” with all but Marsh. MEADE LUX LEWIS - the famous “Honky Tonk Train Blues” (1937). JIMMIE LUNCEFORD - “Lunceford Special” (1939); SCCJ-R substitutes “Organ Grinder's Swing” (1936). CHARLES MINGUS - “Hora Decubitus” (1963); SCCJ-R substitutes 1957 “Haitian Fight Song” (1957). THELONIOUS MONK - six selections including “Criss Cross” and “Misterioso” (SCCJ-R contains five Monk selections). JELLY ROLL MORTON - “Black Bottom Stomp,” “Dead Man Blues,” and “Grandpa's Spells” (1926). KING OLIVER - “Dippermouth Blues” (1923) with Johnny Dodds and Louis Armstrong. CHARLIE PARKER - seven selections including two versions of “Embraceable You” (1947), one version of “Parker's Mood” (1948), and one of his fastest performances: “Ko-Ko” (1945); SCCJ-R has eight Parker selections.

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BUD POWELL - “Somebody Loves Me” (1947) with Curly Russell and Max Roach; SCCJ-R substitutes “A Night in Tunisia” (1951). SONNY ROLLINS - “Blue Seven” (1956) with Tommy Flanagan, Doug Watkins, and Max Roach. ART TATUM - “Willow Weep for Me” (1949) and “Too Marvelous for Words” (1956). CECIL TAYLOR - a selection from Unit Structures (1966). FATS WALLER - “I Ain't Got Nobody” (solo piano - 1927). WORLD SAXOPHONE QUARTET - “Steppin'” (1981 - only in revised). LESTER YOUNG - “Lester Leaps In” and “Taxi War Dance” (1939), both with Count Basie. * The Sousa and Pryor Bands: Original Recordings, 1901-1926. New World: NW 282, LP, c1976. * Steppin' On the Gas: Rags to Jazz. New World: NW 269, LP, 1913-1927, c1977. “She's Cryin' for Me Now” (1925) by the New Orleans Rhythm Kings; “Ory's Creole Trombone” and “Society Blues” (1922) by Kid Ory; as well as several nonjazz pieces that cast light on where jazz originated (including 1914 band ragtime by James Reese Europe). Stomp and Swerve: American Music Gets Hot. Archeophone: 1003, 1897-1925, c2003. Includes the Sousa Band, Jim Europe's Society Orchestra, Earl Fuller, the Original Dixieland Jazz Band, and others. * The Story of the Blues. Columbia/Legacy: C2K 86334 (30008), 2CD set, 1928-1968, c2003. Compiled by Paul Oliver. Street Cries & Creole Songs of New Orleans. Folkways: 2202 (FP 602), c1956. (mail order) * Sweet and Low. New World: NW 256, LP, 1926-33, c1977. Includes “Sweet and Low Blues” and “Til Times Get Better” by Jabbo Smith. * That's My Rabbit, My Dog Caught It: Traditional Southern Instrumental Styles. New World: NW 226, LP, 1925-77, c1978. * Thesaurus of Classic Jazz. Columbia: C4L 18, 4LP set, 1927-30, c1959. Includes twelve 1927-30 recordings by Miff Mole and His Molers (“At the Darktown Strutters Ball” with Red Nichols and Jimmy Dorsey, “That's a Plenty” with Jimmy Dorsey and Eddie Lang); eleven 1927 recordings with Red Nichols and the Charleston Chasers (“Farewell Blues” with Jimmy Dorsey and Miff Mole, “Five Pennies” with Pee Wee Russell); and other groups.

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ACID JAZZ, HIP HOP, AND TECHNO ANTHOLOGIES * The New Groove. The Blue Note Remix Project, Vol. 1. Blue Note: TOCP-65755 (36594), c1996. * A New Type of Jazz. New Breed: 020, c1994. Includes “Move Y’all,” “Racial Facial,” and “T.S.O.J.” * Rave ‘Til Dawn: Techno’s Finest. SBK/EMI: 27018, c1993. * Red Hot Trip Hop. Street Beat: 1021, c1996. * The Source Presents: Hip Hop Hits. Vol. 1. Polygram: 314 536 204, c1997. * This Is Acid Jazz. Vol. 1. Instinct: EX225, c1991. * This Is Acid Jazz. Vol. 2. Instinct: EX244, c1992. Includes “Keep On.” + This Is Acid Jazz: New Voices 3. Instinct: EX338, c1996.

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